March 24, 2012
Now that I’m only spending maybe half my day fumbling through fiction writing I have time to share some fumbling through art that I spent about 8.5 minutes on this week when I had time, because I love nothing more than falsely reading into email that I should hurry to do something tough and draining when in fact nothing’s going to be done with my something for weeks or months, and my something else doesn’t need to be bothered with for years, probably. That’s almost as great as learning from idiot doctors that I have a choice: 1) chronic moderate to severe pain for the rest of my life or 2) dropping from heat exhaustion at any exertion or high temp for the rest of my life. Which all is relevant in case you’re wondering why I sometimes seem so angry and/or defeated when I post here. When you’ve actually got your fingers crossed for scary, low-odds-of-success surgery you know you’re not in a fun place.
Anyway. None of this is presentable stuff, but it’s a start; the first image is derived from being informed that when I layer a color over an image I can (duh) alter the opacity of that layer, and the other images are derived from wanting to push my flat Photoshop insertions more in the direction of graphic design, though these are examples of how to do that, not how to do it all that well. It’s a start, though, and if I can stop worrying about my stalled literary career or my stalled art career or my unsolvable health problems or the looming demon of being on Medicare starting in July then I can try to devote a little more brainspace to last year’s geometric abstraction as text/image jumping off point.
I need to shoot some landscapes of my own for this stuff if landscape is the way to go and today is the perfect day for that weather-wise but not for “leave the house”-wise. My hunch, though, is that you need the figure-ground push-pull of a portrait for the intrusion of flat or textual space to introduce any much-needed pictorial tension. And I’m thinking that color image #2 is the most successful of the bunch because the text crop is obvious and forced instead of possibly incidental or accidental.