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2023 >
Reelin in the years

Reelin in the years

Size: 48" x 36"

 My first landscape in a long time.  I stay away from landscapes mostly because I am in awe daily of the magnificent planet i sleep on and the beauty that source energy splashes everywhere.  I fumble to represent that.

My art techniques have been developing in an abstract way for many years.  This year I shifted my thoughts about how and why I move paint around a piece of fabric.  I focused on a more realistic style, same color and abstraction with more realism.  So far I'm loving it a lot.

I was at the beach this summer, in a touristy place, watching a lot of cell phone documentations of fun times.Thinking about the loss of the photo album.

Then, this gramma and girl line up for a shot.  Girl poses and gramma snaps with her celly. Girl comes to look at the picture but Gramma has already put the phone away.


so that stuck with me.  Been thinking a lot about that.  So now i have imaginated  some ideas around what was going on with that.  Why wouldn't Gramma show her that picture?  I probably put waaay more imagination on it than was even at all necessary  and painted them.

In the painting, Gramma doesn't actually take pictures of the little girl.  Though the girl never knows that.

Gramma has taken her to the home of her childhood on the prairie.  The old homestead has only It's ghosts to tell tales.   Vacant and leaning, windows out.  Lawns lost to advancing diligent weeds, it was the place of Grammas people.  Three Fathers ahead of Grammas father were born, toiled and died on that land.  The land Walmart bought.  The house no one wants

Gramma is the link, her girl won't care about the families lost place.  When Gramma is gone and our youngster asks her mother about the time when she was 11 and her and Gramma went to that creepy house, that falling down place remembered in the thoughts girls lose hold of.  The Mother would say oh, that's a walmart now, and the lost homestead can morph into any tale just like this one because we don't capture things like that anymore.  We gaslight ourselves with a digitally captured vibration because it never gets translated into a paper object we can assign a captured reality a name like photo.  words scrawled on the back in fountain ink.

Ghilholey farm -1917

packed in a trunk, yellow cello tape clinging to the black velvet paper pages.  Waiting for translation .

So.  Its a painting about the things that matter and the things that don't.

Does it matter that I fumble to give the vision of sky to eyes blessed to see the real thing? That I stumble to create that pre storm shift where clouds are never white and the bluest deepest gray green exists.

Does it matter that Gramma took pictures of a butterfly instead of her Granddaughter as she posed in front of the house she was born in, that her father was born in and his father before him. Does it matter why the family abandoned the farm in the first place.  Does it matter why?

In the grandness of things, not really. A pin prick in society as a whole.  A tiny hole deflating the old ways.  

Does it matter that i made all of it up.  With my words, my thoughts, my deeds.  

I love being an artist


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