Josh Smith

"Each Work implies that there are others. There was a painting before and there will be one after." That is one of my favorite quotes by Josh Smith taken from the ArtForum February 2009 issue.

I discovered the work of Josh Smith this year while skimming through an ArtForum at the Architecture Library at UTA. I found his work very compelling because it is about the painting practice rather than the work itself. In the article, he talks about the learning process of an artist and how he, as a painter, understands life by making art. For Josh, painting is an approach that allows him to assimilate information. I had always thought painting to be a means of understanding for me, but never in such a pure manner as Josh's.

Source:http://www.luhringaugustine.com/index.php?mode=artists&object_id=81&view=press

A self-issued mandate to update.

I've decided to write a poem. Poetry is an art like painting is an art, consequently there must be some similar underlining structure that is applicable to both. Because I paint first and have never in my life written a poem, this piece will be heavily influenced by a mind that works with a brush.

My first poem is called "Still life"

Mug used for tea, stained with bag still inside.
To it's right, an SLR camera sits.
In between the two, poweradapterneongreenpost-itspostagestampsbluemustachecombcontrolbusinesscards.

Fin.

That was kind of fun. Who knows? I may be the next Michelangelo.

The Greatest Lesson of All....

...is a slap in the face.

Into the Abstract.

So I'm beginning to explore abstract art. Here are some samples.

Mel Chin and I.

So I got to hang out with Mel Chin for 4 hours this Saturday before the reception for the Texas National. He is a cool mothafucka.

Family and Success.

Here are the first outcomes of my chopped up paintings. These paintings create interesting content and I look forward to thoroughly exploring them.

Cigarette.

I had a cigarette today; I impose too much stress on myself and I have no outlet. This may sound like a depressing post. And it may be. I would not consider myself depressed, though, so do not make false assumptions. I am a very happy and very fortunate person. So I have no reason to be depressed. However, I should not be telling you that making false assumptions over this post is wrong. I am hypocritical and make false assumptions of myself. I know I am worth more than I give myself credit for, yet I feel like my actions are the only things that make me worthy. That is why I make art. Unfortunately, I constantly judge my work and find so many faults within it, therefor constantly thinking about the faults within myself. That is why I had a cigarette today.

Deconstruction Reconstruction Series in progress.

Decon-Recon Portraits in progress.

Little Bro, Pre-cut

so i have this crazy idea that requires me to cut my paintings into little pieces. I thought I would show you guys before I take it to the table saw....

Self-portrait.

Not done....but I will show you the progress. Lots of work needed.

Epiphany.

Deciding what to paint is so difficult for me. Not to toot my own horn, but I do feel capable of making any style of painting, from realism to abstract(I'm not saying I'm as good as Chuck Close or Picasso, just saying that I am capable to exploring both sides of the spectrum). Because of this, I struggle to find a balance. I love the attention to paint instead of content that abstract paintings deal with, but I love seeing the labor in realism. My question is how do I combine both? How do I take something like definitive imagery and use it in a way that you can't acknowledge what it is? How do you make something valuable with mastery look loose, naive, and valueless? Am I interested in painting more than I am in people? I enjoy painting people, but they carry with them a unique identity and by painting them I single out everybody else therefore creating less interesting art. Maybe creating long horizontal paintings featuring masses, some detailed, some not, unfinished like their lives, raw and uncontrollable like life itself.

Whoa, I just had an epiphany. Thanks for listening.

I can't really explain what just clicked in my mind, but I can show you old work I have done what has finally made things make sense.

Maybe not Identity.

I've been thinking way too much about my art. I feel like I am trying to write a revolutionary book in a language I don't even understand. Art can be very conceptual, some times, too conceptual. I like to paint people, but I hate identity, or freezing moments in time. I want to do a series that exercise what art is to me through portraits of people who have been inspirations to me, mainly including family and friends.

Identity in Progress (cont.)

Okay, so after realizing that a matrix of squares on top was not enough, I made some for the bottom. I'll upload a better picture later. Maybe.

::edit::

I had class critique today and presented the piece you see above. I presented the idea that this painting represents a lacking structured identity juxtaposed to a plethora of unrefined identities. I thought it looked cool and I was content. Little did I know I was not done. Although, to me, it is aesthetically pleasing, there is a lacking concept in the piece presented above because it seems as if this torso is being sandwiched by heads instead considering the many possible identities it could mold itself after. So here is the new version...still in progress. This piece alludes to the self-portrait of 30 me's tiled together that I did last semester.

Identity in Progress.

The piece I just posted is mainly dealing with identity. I am still not sure which path I am currently persuing, but I am starting to grasp elements and ideas that interest me. For example, I am really drawn to individualism and identity but at the same time fascinated by the masses and reletivity. I love structure and the sense of stability while maintaining human touch, ambiguity, and spontaneity. I'll go into a deeper analysis when I post the finished product.

Hola 09.

This is the year to trump all previous years, so lets make it a good one. One of my many goals is to start going down a solid path with my work. Here is a questionnaire to help me .

1. What activities tend to lead you to creative ideas or responses?
Curiosity. I think many people look at it this way, but when I work I don't necessarily know exactly what I am going to come out with. It may be because I am still new to painting and not completely certain of my results, but I've found my best work to just naturally come to me by boldly taking an uncertain risk.

2. What activities or environments tend to lead you to more productive creativity?
I get in trouble when I lose touch with my creative side. If my creativity comes to a standstill, I'm fucked. It is important for me to get that ball rolling. Once I am working, it is hard for me to stop. I need to have a good amount of space when I work. Solitude is important. I prefer to work alone, it is more conducive to my creativity. I become easily interrupted, it is better if I stay concentrated.

3. What habits/behaviors do you have that inhibit your success in the studio?
To work work work. Even when things are going badly, I need to keep going.

4. What attracts you visually?
Ambiguity, culture, history, structure, technique, line, atmospheric qualities, variation, people,

5. List the things or ideas that most consistently interest you. (Does not have to be specifically art ideas or images) what tends to inspire you?
I'm interested in finding a sense of belonging. Culture and identity. They work hand in hand. Culture in a way defines your identity.

6. What are your goals for the semester in this painting class? (Please asses your success in achieving these goals at the end of the semester in your journal.)
To make a solid body of work that will help me get into the Norfolk Summer Program.