When I was a kid, I loved oil pastels. I’d draw bright flowers, beautiful hillsides, and starry nights. There were drawings I’d do over and over, never exactly the same, but following the same formal constraints. Hill just so, sun or moon with these pastel-marks.
As a grown artist, I look back on those drawings with both fondness and chagrin.
On the one hand, they were familiar forms that helped me perfect my technique. Drafts, as it were, that developed into skill with mark-making, composition, and iconography.
On the other, they like banal over-studied forms that stopped investigating new meaning.
We artists must constantly balance the need to investigate new horizons with the desire to connect with our audience. Many of the wild drawings I did in Madrid, which to me are emotional investigative storms on A3 paper, seem like decorative art to the viewer, while my repeated drawings of Gracie, with different techniques and stories, seem like developed work to the viewer.
It is necessary to repeat. It is necessary to connect. It is necessary to delve.
These necessities are why there are multiple strains of work that show up as I continue through this project.
None of this is really about the crocus drawing above. It represents another investigation into macro perspective beauty through the medium of paper and pastel instead of camera and pixels. It is not the end of developing technique.
One reason I like doing macro-photography is because it satisfies my need to delve and look at abstract form while still remaining approachable to the viewer, and it is fun to repeat the technique and change the angle to fit in with my body of work because it involves looking so close that there are always new things to see.
Spring flowers are so pretty. Took a bunch of photos today of what’s sprouting in the yard. Expect more flowers, banal though they may be.