
“In mathematics the complicated things are reduced to simple things. So it is in painting.”
– Thomas Eakins
I found this quote as I was contemplating simplicity and immediately thought of our friend, Miki. She is that rare union of mathematical and artistic passion in the same person. So this post is dedicated to her…
As I work on these abstract monoprints, I am constantly trying to decide what needs to be included and when I’m done. There is a lot of ability to layer and to remove with this technique, so I can keep going on a piece – often until I’ve made it way too complicated. My favorite pieces are those that have some strong patterns or shapes floating in an interesting field of color and texture. I often reach a stage where I like what I’ve done, but something seems to be missing. This may that “crisis” point in a painting that Danu has talked about, the point of departure for many pieces, where they either head in the direction of “success” or the direction of permanent storage, or worse.
Simple doesn’t necessarily mean fewer elements in the painting. I think that each piece has a natural order that it can handle – some pieces may have more going on in them, but for each there is some point at which it is not longer “simple”, where the fundamental nature of the piece has been exceeded in some way. I know intuitively when that has happened, usually fairly soon after I’ve reached that stage (it’s a disappointing realization!). I don’t think this is a rational process, but one more of feeling, based on the inner motivations, inspirations, intentions and reactions the artist has toward the piece.
In mathematics, reduction of complexity to a simple and elegant proof is described as “beautiful”. So it is in painting…
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