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Paintings, August 2006

#18, August 2006

All paintings are acrylic on paper, 44 x 30 inches
unless otherwise noted.

Scroll down for the paintings, click the images for larger views.


Calligraphy Exercises
Chinese Ink and Acrylic on two layers of rice paper
approx. 36 x 24 in.

#3, August 2006
"But love is not enough"

#5, August 2006
"Scream against the ruin"

#8, August 2006
"Ageing, old, on to end"
---But, it won't die.
Private coll., Montreal, QC.

#9, August 2006
"Not Never" becomes always ever
 as tree of blood with sun fruit.
Private coll., Montreal, QC.

#10, August 2006
"Draw and Paint"

#11, August 2006
"Save a few stones."


All paintings below are acrylic on paper
44 x 30 inches

#13, August 2006
is state 2 of #3, July 2006


#14, July 2006


#15, July, 2006
approx 40 x 30 inches


#16, July 2006



#18, August 2006,
on the studio work table



A Fragment from August studio notes...

August 18, 2006.
Lac Ouaureau, early morning.
This last month, because after at least forty years of near universal disinterest in my collages of the late 1950s through mid 1960s, suddenly two different art dealers are seeking them for possible promotion to collectors thinly scattered everywhere, and because the dealers' and their clients' motives are unthinkably far from mine (see the comment about the crystal dish in the September Brief Essay), I thought to preserve the images from the collages for my myself by making copies of them to keep while giving the original collages to the dealers to sell for whatever reason the client wants them.

Then, this morning while thinking about that plan, I thought…
We’ve been fighting, time and I, for maybe all life long; and now it’s come to this. “You can’t go back.” (And why would; you want to?)

I want to go back because it’s like after Jean died when I came to know my art works are the stones of my arch of life—lose one and the arch is weakened, lose many and the arch falls. The plan then was to save everything by making computer art of it that I could both keep and give away.

Now with the 1958-66 collages, the same situation again. My plan these last few months has been to make transcriptions of some of those old works the way I did of some work back in 1984, and then to use contemporary digital methods to print and distribute the images as aesthetic objects—not the “existential artifacts” they are for me.

1. I must recognize that the art object is one kind of thing in the heart of the artist and another kind of thing in the art market.

2. What I must do is to let the children go. Sure, keep their childhood photos on the piano and their memories in my heart. But I must let the children themselves go to live or die their own lives in whatever world may come for them.

3. I must remember when I learned the artist is a silver salmon: only by scattering a thousand eggs can a few spawn survive. And that—survival from the failure and ruin of the years—is what my art is about.

August 18, 2006.
Lac O., mid afternoon.
Thinking this afternoon about what I wrote this morning, I see that I am high on the shoulder of a mountain, looking out and down over a wide landscape. The mountain is my life, the shoulder is my now, the landscape below is my past. And every work I make now has in it all the time of all my past and all the opening of all my future. (See September 2006 Brief Essay, About Time and about Souriau's insertion point and Sauvage's T1,--the physical time of the work of art, and T2, the time of the viewer's viewing.



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