1st — larger version | 2nd — larger version | 3rd — larger version
Thanks to Magsramsray for her brilliant suggestion to just post the image without explanatory text. She really hit the nail on the head with her comments. I do feel a kind of self-imposed pressure to say something momentous each time I post, which is intimidating and leads to self-censorship. But since this is my party, I can do whatever I want, including making the choice to be free of substance. So here’s the painting mentioned in the last post, submitted here without commentary.
Hi Deidre, this new work is really intriguing – completely different from anything else I’ve seen of yours. I’m wondering who the fox is?
It’s funny, I was thinking about trying a landscape or something abstract based on photos I took in Mexico, so I go to your blog for inspiration and find you doing figurative work!
I too find that if I allow a long time to pass between blog posts, it gets harder and harder to do one because I feel I need to catch up or explain. But in the end it has to be about you, as you said there are zillions of words being written on the internet every second – so it has to be if you want to say or write it. And a strong image cuts to the heart of the matter. I’d rather look at a cryptic blog with striking images any day, than read a bunch of words.
I think this approach to posting is just fine. After all, nobody tells an author she can’t publish her book unless she also paints a piece to go with it. 🙂
Hi, Pam.
This work is probably not going to be something I do a lot of, but it was an attempt to stretch out of my comfort zone in response to a class assignment. I did enjoy it immensely, though. At the time I did these, I had been doing a lot of reading of environmental stories in the news, and a phrase kept recurring: “It’s like giving the fox the keys to the henhouse.” So the fox is a kind of avatar for a faceless corporate perpetrator. There were many more of these stories than I did paintings for, so I could have kept the theme going for several more, but then a certain turn of events rendered it fairly moot, or at least pushed it back somewhat.
Yes, I agree that if too much time goes by, I feel like I need to say why. That probably goes back to my long history of being a poor correspondent and having to start every letter with “Sorry it took me so long to reply to you…”
Hank Quinlan: Don’t you think I could have been rich? Instead all I’ve got is a turkey ranch…..
Look at those oil wells, pumping up money….
…money…
Touch of Evil? Saw it a really long time ago. Don’t remember much about it. Might be time to put it on my Netflix list.
Oh, yes, you are correct, sir! It is #3 on my all-time greatest movie list. (“Vertigo” is #1 and “Double Indemnity” #2). Once you get past Charlton Heston’s brownface makeup (which is easy, because he gives a great performance), then the movie takes over. It is Welles’ magnum opus, to me. “Citizen Kane” was a work of genius by an upstart prodigy, but “Touch of Evil” is a work of genius by a mature master as the height of his creative powers. It is simply the most amazing piece of filmwork and editing ever, and in addition to Heston, all the performances are solid, unique. Welles, Joseph Calleia, Akim Tamioff, Janet Leigh, Mort Mills. The best two are Welles and Calleia, and Calleia’s is the most tragic figure in this movie.