MY ARTIST STATEMENT /SEASCAPES BY DANIEL
I think for me painting the sea always happened at transition points, particularly when I moved somewhere new, I can cite numerous examples in hindsight of when I painted or photographed the sea shortly upon or after shifting house.
I seem to have always come and gone subject wise to and from the sea depending on some internal metric of stability and growing acquaintance with the newness of my surroundings then I'd drift off to other things.
My practice of yoga & meditation also reinforced a growing idea or set of of concerning depicting the internal ocean of which the real thing generally serves as effective metaphor.
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The origins of serious play can be traced back to the Upper Paleolithic Transition (circa 40,000 BCE) and the emergence of shamanism. Shamanism involved "disruptive intentional practices" designed to break through standard frames of perception. A shaman would engage in "participatory knowing" by "becoming" another creature—such as a deer—enacting its movements and perspectives to gain insight into the environment that other people might miss. - WE AS VIEWERS BECOME THE WAVE OR IDENTIFY WITH THE WAVE/OR PERHAPS THE WAVE REPRESENTS OUR LIFE CRASHING THOUGH SPACE AND TIME-PERHAPS THE OCEAN IS OUR INNER LIFE/THE JOURNEY THROUGH OUR EMOTIONAL WEEK OR OUR NIGHT OF THE SOUL- There is a link here to with yoga postures and prayer positions, where we are using our bodies to become one with the spiritual ocean of our experience.
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By "becoming" the other, the shaman could "decenter" their own identity, allowing them to see patterns and affordances that were previously invisible. This is the essence of "serious play": it is not a retreat into fantasy, but a "prototyping" of new ways of being.
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Use of the ocean as a subject of metaphoric participatory knowing in the Socratic sense of a learned manners of engagement with ones surroundings in my case I see it more through a psychological and spiritual lenses whereupon painting the ocean is for me and I assume others because it is the learning of patterns and movements that we also experience internally in how our thoughts and thoughts forms seemingly alive and moving though the lands of our inner selves, our internal emotional and spiritual landscapes appear to have structures and even shapes as we imagine them, via a type of perception we possess and I do think the ocean in many ways is a running analogy for our internal story.
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Every painting perhaps is like a microcosm of life - or should be?- a microcosm using allegory or metaphor to explain the lived experience/ I think a good story is this/a myth/a movie eta, a good painting makes us experience the experience of life/of living, in a condensed and microcosmic manner. As above, so below in a sense.
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The movement of water = the passage of time/It is the coursing of spirit manifest through space & time
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When I paint stunning turquoise water and balmy cream sand I don't really always want to paint the crashing waves at the beach as it is, I want to paint it as you remember it at the beach on your vacation, our holiday memories sometimes serve us as postcards do, because postcards are idealised
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I used to collect postcards religiously on holiday, I remember particularly a bunch I bought in Venice, they were integral in inspiring my growing appreciation for painting the sea, I saw in them something silly but positive, to me Art should on the whole serve two purposes both of whome are related, one is to amplify beauty in the world, because creation is beautiful, the other is to convey a microcosmic/a reductified version of the truth, in the way that myth & story does.
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I think I like to paint fleeting moments of transition, imbued with detail and clarity.
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While I'm painting, which I do in bursts, I follow with sometimes just sitting and contemplating the picture/The Sea seems to reveal it's character to me in these moments, again the similarity with meditation practice, and again the mutual interaction with the canvas, it seems to be a feedback loop, as the ocean is created I merge with it, coming and going sometimes for days, walking away and letting the picture emerge in my mind, letting the waves move into position, letting the sea tell me what to do, or sometimes all at once, crashing out and exploding all at once in a rapid series of brush strokes forcefully forming a sense of direction.
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I don't so much trying to paint the sea how it is, I do, but I also paint it how it feels.
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Every system needs some slack, if it's cut to the minimum, there is no spare energy to inovate, the explore and find new solutions.
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The best kind of art is like a diary
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The space can be engaged w more, the everything every line can b engaged w more
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Work extremely quickly making basically a detailed painted drawing hashed out and executed.
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I want my paintings to be looser yet also more detrat times and more coherently and finally strung together
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Make my paintings, my art and art a 'silk road' of desparat
Influences
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Eagles are a sign of zeus
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Let the spirit guide the painting
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Is ocean conservation the next big thing? Really in sort of that sort of arena?
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Complex and as simple as possible at the same
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Cosmic dance of constant dividing and uniting with ever being truly one or other
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Dividing the uniting uniting the dividing
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Once upon a time I was a Kibbutz volunteer in the Negev desert. On day me, the other volunteers, and a few locals went out for an impromptu stroll into the desert. The desert is a weird place, strangely empty, I mean you'd think that's obvious and it is, but I think your never prepared for it. It's a blank canvas, but filled with so many interesting things none the less. it's the wilderness incarnate.
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deserts and oceans are similar
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un-bound, un-restricted, un-ravelled
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the dark wine sea
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un-bound, , un-ravelled
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My paintings are philosophical/ theological
Of course they are. It's about orientating a person in the world that's what philosophy is about. It's the orientation of the individual in the world in the cosmos. That's everything. It's also theology. So what's going on? Well? It's about that entity that defines sparks that individual navigating itself through a multidimensional space
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Why Sargent Painted Outside The Lines
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Let's wrestle with the physicality of the land.(SEA)
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Painted neo conservativism
Create an aesthetic narrative for the new right
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I wonder if the trend towards less perfect less perfectionism and a more sort of raw direct and human art paint strokes and mistakes evident and all that and more expressive maybe this me wanting feeling like one do more expressive painting more force for more masculine it's sort of its reflected for what's going on in these sort of interval period and a period of expressionism in the previous century and it does make you wonder if it's related to the thing in a more combustible more strung out perhaps more of a pre-world society or a society that's feeling a little bit more on edge that it was previously something like that less polished
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Bring back the male painting energy,
expressionism/directionality of line
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want to work with the raw physicality of the land, to grapple with its body. (THE SEA)
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A successful failure at rhythmic sculptural shaping, pushing and extending/gently stretching out the ' structural?'fabric'
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The background 'refurbished' during a bout of insomnia in the early hours, the dazed 'drunken' clarity of the energy drained mind can produce the most directly authentic rendering
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KNITTING' IN...the pencil/the drawing / the approach is the highest order
Edging/knitting in the lines, kinda zigzag
I do with yoga, 'holding that perfect spot of tension ' not too little not too far
-- the approach is the highest order
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The best art isn't made when you're being rational
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Each painting should speak its own language. Its own story. Its own truth have its own thing unique to it
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More movement, flecky directional lines, like van Gogh or Hockney more recently
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Tacking between textures and layering
Tactful
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And treat my artworks as posts
Treat my 'POSTS' as artworks
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unmooredness
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Good art actually is maintaining tradition archetypes the kernel truth the Divine spark all of that the truth of god's creation while at the same time showing progressive way forward way to experimental ages a way to show the eternal truths in the new light
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work with thicker paint but just do one take with the slow drying acrylics move across the canvas just thicker blending drawing it and drawing in the paint keep it all just like flowing keep the movement alive back and tracking just like all the elements of the movement and all that just all flowing together
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A "Shape-Shifting" Found Poem
I took your stream-of-consciousness and restructured it into a rhythmic invocation.
The Constant Move
From the storm to the sun,
A morphē between places,
Expanding spaces through theosis.
We are the wandering Hecate at the intersection,
The Morpheus rainbow, a flying bridge.
Like Thetis, we move constantly
Between heavens and earth—
Not a destination,
But a wave motion.
A frame change.
A flight.
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Kyle Jung said that everything in the cosmos is contained within the mountain (ALSO THE SEA) AS ABOVE SO BELOW, OR AS OUTSIDE SO WITHIN (RHE OCEAN WITHIN)
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I want all the elements to be separate like a jigsaw. the sky is its own thing. the mountain is its own thing. the branch is its own thing. the bird has the same thing like they're all like composited together like in Photoshop
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this is also very old sort of paleolithic way of looking at the universe that each of these elements is almost its own deity its own guard, the sky, the sky, God, the branch, the tree, the natured, forest guards, the bird, etc. they all fit in differently. the mountain could be its own deity as in Hindi that God of the mountain in Nepal
&-
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kinetic
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following the rippling of the tides like the textures in the rhythm of the the structure of the thing rather than looking at it as a branch so to speak like underlying structures
--
the truffles therapy thing is a bit like that as well
---
reference to the tree photographs photographing trees all the time in the way trees the shapes of trees patting their way through space and time
the rippling of the wood of the grain of the wood patterns in the branch
---
A SERIES OF MOVING PARTS/ELEMENTS
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Rivers of time
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I could paint two fighting Hares as a representation of like all this stuff that I do in my Doodles and my photography and my SEASCAPES painting. it's expressive representation of the spirit of the life force. even a fox could potentially be like that. maybe that's a ? but like birds leaving a branch with like the flowing air and the energy around them. and I have all these like birds flying through the air. it's not really about the subject matter anymore. is it? it's like I figured out what I'm trying to do here I think--- More about communicating an idea using the subjects
---
Artists don't paint things artists experience things
we don't just paint how they look, that's what cameras do
--
all these like yoga positions and stuff. they look like my Doodles they look like you could see the aesthetic components of a three-way intertanglemental into play between elements that I do in my my seascape paintings. it's all in all my photography. it's like the embodiment of the spirit of the animating essence of animating essence rather than Divine spark. so to speak and this spirit animating essence, the spirit of of reality
---
this is why I like all those pictures of dance or ballet or flying birds. or it's all about an interplay and a play. think about Alan Watts the constant interplay between like elements. maybe two three elements. maybe seems to be the nature of the force, the spirit, and a meeting essence. I suspect the New testament in Jesus as what a lot of what you could say. the aesthetics what he describes may well look like that
---
reanimate reality
---
the animating essence
---
Alan Watts nonduality all that stuff
---
more of a flowing kind of moving detail/moving details kind of drawing process, like movement sketches slowed down a little or perhaps a lot. but not real still, still forming and becoming, a breaking down of a building up process in action, is that post modernist or undoing that wonky wanky arty farty philosophising
---
we are always dealing with life/reality on the run. it's always a moving interface, memory and experience is actually always a combo of moving and 'stills' a kind of fractal interlace in-between everything..
---
The sea is an awe-inspiring force of nature, Its many different moods, its power, its complexity but also its simplicity & the very fact it breaths life into this planet. It dances yet it is grounded. For me the Ocean is many things.
---
thicker blending drawing it and drawing in the paint keep it all just like flowing keep the movement alive back and tracking just like all the elements of the movement and all that just all flowing together
---
A "Shape-Shifting" Found Poem
I took your stream-of-consciousness and restructured it into a rhythmic invocation.
The Constant Move
From the storm to the sun,
A morphē between places,
Expanding spaces through theosis.
We are the wandering Hecate at the intersection,
The Morpheus rainbow, a flying bridge.
Like Thetis, we move constantly
Between heavens and earth—
Not a destination,
But a wave motion.
A frame change.
A flight.
---
Kyle Jung said that everything in the cosmos is contained within the mountain (ALSO THE SEA) AS ABOVE SO BELOW, OR AS OUTSIDE SO WITHIN (RHE OCEAN WITHIN)
--
I want all the elements to be separate like a jigsaw. the sky is its own thing. the mountain is its own thing. the branch is its own thing. the bird has the same thing like they're all like composited together like in Photoshop
---
this is also very old sort of paleolithic way of looking at the universe that each of these elements is almost its own deity its own guard, the sky, the sky, God, the branch, the tree, the natured, forest guards, the bird, etc. they all fit in differently. the mountain could be its own deity as in Hindi that God of the mountain in Nepal
&-
---
kinetic
---
following the rippling of the tides like the textures in the rhythm of the the structure of the thing rather than looking at it as a branch so to speak like underlying structures
--
the truffles therapy thing is a bit like that as well
---
reference to the tree photographs photographing trees all the time in the way trees the shapes of trees patting their way through space and time
the rippling of the wood of the grain of the wood patterns in the branch
---
A SERIES OF MOVING PARTS/ELEMENTS
---
Rivers of time
---
I could paint two fighting Hares as a representation of like all this stuff that I do in my Doodles and my photography and my SEASCAPES painting. it's expressive representation of the spirit of the life force. even a fox could potentially be like that. maybe that's a ? but like birds leaving a branch with like the flowing air and the energy around them. and I have all these like birds flying through the air. it's not really about the subject matter anymore. is it? it's like I figured out what I'm trying to do here I think--- More about communicating an idea using the subjects
---
Artists don't paint things artists experience things
we don't just paint how they look, that's what cameras do
--
all these like yoga positions and stuff. they look like my Doodles they look like you could see the aesthetic components of a three-way intertanglemental into play between elements that I do in my my seascape paintings. it's all in all my photography. it's like the embodiment of the spirit of the animating essence of animating essence rather than Divine spark. so to speak and this spirit animating essence, the spirit of of reality
---
this is why I like all those pictures of dance or ballet or flying birds. or it's all about an interplay and a play. think about Alan Watts the constant interplay between like elements. maybe two three elements. maybe seems to be the nature of the force, the spirit, and a meeting essence. I suspect the New testament in Jesus as what a lot of what you could say. the aesthetics what he describes may well look like that
---
reanimate reality
---
the animating essence
---
Alan Watts nonduality all that stuff
---
more of a flowing kind of moving detail/moving details kind of drawing process, like movement sketches slowed down a little or perhaps a lot. but not real still, still forming and becoming, a breaking down of a building up process in action, is that post modernist or undoing that wonky wanky arty farty philosophising
---
we are always dealing with life/reality on the run. it's always a moving interface, memory and experience is actually always a combo of moving and 'stills' a kind of fractal interlace in-between everything..
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