accidental but controlled

accidental but controlled and intended –

I have noticed when painting –

1) a work always automatically and unintentionally moves in the direction of –

harmony or unity of all aspects, structures or components (eg colours,  forms, placing of forms or
composition, textures, etc),

for example the manner in which a certain colour  is  (or all colours are)  presented, the ways in
which a certain form  is executed (eg different types of brushstrokes and other  ways of producing a
form), the ways in which paint , pastel (or whatever media being employed) is applied or executed,

the support/s  and all other aspects that together contribute to the unity of a work.

I often deliberately attempt to circumvent this almost automatic movement towards trying to produce

unity, union, harmony, some kind of pleasing or pleasant appearance, picture, depiction or work.

An example of this is the ‘landscape-type’ expression, presentation or depiction a work takes on.

2) many artists who work non-objectively, not-representational, non-figuratively  or ‘abstract’ (this is
a misnomer as abstract art refers to the attempt to ‘abstract’ certain aspects of ‘reality’ and to try
and represent or express the abstracted elements,  the pioneering examples of “pure painting”,
an early term for abstract art.) attempt to make their work

accessible,

interesting ( by adding different levels of meaning, interpretaion, expression,etc)

acceptable, etc

by adding lines, forms, shapes, colours, figures, objects and other elements that will
make their work appear as realistic, refer or point to or represent some realistic or
recognizable object, place, situation, mood, feeling, etc.

Examples of artists who did this are Klee, Basquiat, de Kooning, those who add letters
or entire words, number  or entire formulas and mathematical symbols to their work, etc.

I intentionally steer away from this and do not add signs, marks, colours, forms (eg triangles,
arrows, circles, squares, moons, etc), etc to my work to try and achieve this objective.

3) There is a difference between making marks on paper a) merely for the sake of making a mark
and b) to create a definite shape . This can be illustrated by these two works of de Kooning.
In the first image the artist tried to create definite or ‘clear’ shapes buy the way in which, how and
where the applies the paint. He even takes this process of making marks so as to produce,
represent and obtain a definite shape by the the (or thick/er) dark lines he creates around
the outside or outlines of the shapes.
In the second image the artist make marks (in this case by brush strokes) merely for the sake
or purpose of making marks.
The brush strokes (or whatever way being employed to make the marks) are themselves the purpose
of making the marks, the aim and the ‘contents’ (meaning) of the work.

The words on his tombstone, Klee’s credo, placed there by his son Felix, say, “I cannot be grasped
in the here and now, For my dwelling place is as much among the dead, As the yet unborn, Slightly
closer to the heart of creation than usual, But still not close enough.”

. He generally worked in isolation from his peers, and interpreted new art trends in his own way.
He was inventive in his methods and technique. Klee worked in many different media—oil paint,
watercolor, ink, pastel, etching, and others. He often combined them into one work. He used canvas,
burlap, muslin, linen, gauze, cardboard, metal foils, fabric, wallpaper, and newsprint.[62] Klee
employed spray paint, knife application, stamping, glazing, and impasto, and mixed media such as
oil with watercolor, watercolor with pen and India ink, and oil with tempera

first one Klee, second one example of adding marks to represent something,. third and fourth ones De kooning and last one Klee
first one Klee, second one example of adding marks to represent something,. third and fourth ones De kooning and last one Klee

deK1 deK2 djomadjumabava klee1
an early term for abstract art.) attempt to make their work

accessible,

interesting ( by adding different levels of meaning, interpretaion, expression,etc)

acceptable, etc

by adding lines, forms, shapes, colours, figures, objects and other elements that will
make their work appear as realistic, refer or point to or represent some realistic or
recognizable object, place, situation, mood, feeling, etc.

Examples of artists who did this are Klee, Basquiat, de Kooning, those who add letters
or entire words, number  or entire formulas and mathematical symbols to their work, etc.

I intentionally steer away from this and do not add signs, marks, colours, forms (eg triangles,
arrows, circles, squares, moons, etc), etc to my work to try and achieve this objective.

3) There is a difference between making marks on paper a) merely for the sake of making a mark
and b) to create a definite shape . This can be illustrated by these two works of de Kooning.
In the first image the artist tried to create definite or ‘clear’ shapes buy the way in which, how and
where the applies the paint. He even takes this process of making marks so as to produce,
represent and obtain a definite shape by the the (or thick/er) dark lines he creates around
the outside or outlines of the shapes.
In the second image the artist make marks (in this case by brush strokes) merely for the sake
or purpose of making marks.
The brush strokes (or whatever way being employed to make the marks) are themselves the purpose
of making the marks, the aim and the ‘contents’ (meaning) of the work.

The words on his tombstone, Klee’s credo, placed there by his son Felix, say, “I cannot be grasped
in the here and now, For my dwelling place is as much among the dead, As the yet unborn, Slightly
closer to the heart of creation than usual, But still not close enough.”

. He generally worked in isolation from his peers, and interpreted new art trends in his own way.
He was inventive in his methods and technique. Klee worked in many different media—oil paint,
watercolor, ink, pastel, etching, and others. He often combined them into one work. He used canvas,
burlap, muslin, linen, gauze, cardboard, metal foils, fabric, wallpaper, and newsprint.[62] Klee
employed spray paint, knife application, stamping, glazing, and impasto, and mixed media such as
oil with watercolor, watercolor with pen and India ink, and oil with tempera

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