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Traffic Jam,<br />
Oil on Panel, 2009<br />
http://normal.bz/print-shop/

Traffic Jam,
Oil on Panel, 2009
http://normal.bz/print-shop/

“Traffic Jam,” Oil on Panel, 17.25″ x 13.75″ (43.8 x 34.9 cm), 2009

“Traffic Jam”, was an exercise in “Crappicism”.  To those that assume that this is because a “crapper” figures prominently in the composition:  No! You are wrong!   That is merely coincidental.   It is “crappicism”  because I conscientiously strove to make this painting “crappy” in style.  To those who reply: “Ah! Then Traffic Jam must be an allegory for the suffering of the constipated!”  Wrong again!  Know that I have long since left behind clogged bowels as a theme in my work.  I have foregone constipation both in the content of  and in the manner of production of my work.  That is to say that in, “Traffic Jam”,  there is no repression, nothing withheld in the composition, and also there is no interruption, no hesitation in the production.

OK.  I will stop the mockery, and explain plainly what I really mean by “crappicism”:

“Crappicism”  is an ideal of deliberate shoddiness in both the idea and the execution of the work.  Of course it is a play on “classicism” – something I consider to be the stifling pursuit of unattainable ideals.  Yet, the “classicist” urge towards perfection is in me, yet so ill-prepared am I to achieve anything that could be described as “classical”, that I have had to invent another and contradictory ideal, “crappicism.”   “Crappicism” aspires to mindlessly churning out art work without concern for its quality, but rather emphasizes an expediency of expression above all else.  Crappicism revels in the kitschy, crude, and crass. I have often speculated that if I could divest myself of  standards of craftsmanship and meaning in my art work than I could flourish and win great fortune with my mediocre crap.  It would be a triumph for “crappicism” – however,  I think it is not to be.  The urge to refine and perfect the work is too deeply ingrained, it poisons the my art with “classical” pretensions that spoil its chances for popular appeal.

So it is that “classicism” and “crappicism”, antipodes of aesthetic ideal , have conflicted within me as I have created this painting.   Neither side wins – it is a stalemate, a “Traffic Jam”.

P.S:  I am not going to mention “crappicism” again.  There are enough silly “isms” in the world without pushing this one, and so, no, it is not a new label for my art.

Details from Traffic Jam Below:

“Series I” prints are made  by the artist, the signed and numbered prints are limited to 100.

The print area of “Traffic Jam”  measures 12.1″ v x  15.18 h” (30.5 x  46 cm). The original painting was executed in oil upon a panel and measures 17.25″ x 13.75″ (43.8 x 34.9 cm).    The print is  88%  of the original size.

For technical details of the print click here

Feb 192010

“Schism”, Acrylic on Canvas + Collage, 16″ x 20″ (40.6 x 50.8 cm),  1994

No Parking Zone, Oil on Panel, 2009<br />
http://normal.bz/print-shop/

No Parking Zone, Oil on Panel, 2009
http://normal.bz/print-shop/

“No Parking Zone”, Oil on Panel, 17.25″ x 13.75″ (43.8 x 34.9 cm), 2009

Not long ago I was contacted  on Myspace by a chihuahua.  I no longer recall this dog’s name, but just to protect the “innocent” I’ll call him “Chumley  -  Chumley the Chihuahua”.  Chumley’s was one of these profiles that is set up by a pet owner so that they can go around pretending that they are their pet.  So it was that a lady pretending to be little Chumley wrote to me to inquire if I could be commissioned to paint his portrait.  Of course I like dogs, and I even like people who pretend to be dogs, however I am reticent to do commissions these days, and even more reticent to do a commissioned portrait of a chihuahua.  Not wishing to disappoint, nor wishing to turn down paying work, I wracked my brain for a compromise.  It was not easy – I mulled this over for days:  How could I stoop to doing a portrait of a chihuahua and still retain my dignity as an artist?

Eventually I seized upon a solution -  I would put Chumley in his proper place.  I wrote back to him and explained as politely as I could that I could only include him as a detail, as a minor character added as a sort of “cameo” within the painting.  Chumley might (for example) sit on the lap of a lingerie clad gorgon or lift his leg on the severed head of John the Baptist or add some other weird and witty touch in any number of ways to a larger composition with loftier themes. I asked Chumley to understand that I only portray in my paintings those things that are part of the stream of symbols that course through my imagination.  I further explained that, with all due respect to the chihuahua breed, a breed that I find agreeable despite it’s diminutive size (generally speaking I only like large dogs), the chihuahua is simply not a part of the bestiary of my imagination, and so I would be very grateful if he would understand this and settle amicably for the sort of cameo appearance in one of my paintings that I was offering. He never replied. I can only guess that Chumley was too insulted by my belittling offer too dignify it with a response.

By the Fall of last year I had mostly forgotten about this seemingly minor encounter. I was busy working simultaneously on the painting above as well as Traffic Jam. In the course of making a painting I try to avoid thinking about what the meaning of the images might be.  That sounds peculiar to those who do not create things from their imaginations, but those who do will sympathize since they know that assigning meaning to things prematurely simply stifles the natural efflorescence of the imagination.  Yet sometimes as a work progresses a meaning, a resemblance, a reference, or a metaphor becomes very clear and the artist cannot deny it.

Such was the case with “No Parking Zone”.  At a certain point it was undeniable that I had painted a portrait of myself as an androgynous human chihuahua of gargantuan scale.  A horrifying realization.  Moreover, in this self-portrait, I was aesphyxiated.  Aesphyxiated by what?  Am I not here suffocated by my own arrogance, strangled by that self-important spirit that cannot swallow its pride so as to do whatever is asked of it?

Had this nasty little Chumley Chihuahua come nipping at the shadows of my mind and cleverly chased them, as he might chase rats from a sewer, into the light and onto my painting?  Had he in a perverted way, assumed the place in my painting that he had desired? Uggh!  Approached from all directions the matter is psychologically sordid.  It is a transgression, a usurpation, it is something that is where it should not be – a violation.  Even so, it is but a small infraction . . .  like parking in a “No Parking Zone”, and I afterall have always been a scofflaw . . .

Details from the painting (click on thumbnails for slideshow):

“Series I” prints are made  by the artist, the signed and numbered prints are limited to 100.

The print area of “No Parking Zone”  measures 12.1″ v x  15.18 h” (30.5 x  46 cm). The original painting was executed in oil upon a panel and measures 17.25″ x 13.75″ (43.8 x 34.9 cm).    The print is  88%  of the original size.

For technical details of the print click here

“The Primordial Factory”, Acrylic on Paper, 1994

“Secret Furniture”, Collage, 9″ x 12″ (22.9 x 30.5 cm)

“Ascent and Descent”, Oil on Canvas, 36″ x 48″ (91.5 x 121.9 cm), 1992

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