Life is full of shapes. In a painting I simply like to make as many of them as I can.
With the new visual language of play, that Picasso et al created, reference was of course always made to reality. We can now however carry on legitimizing our designs with representational shapes – but not necessarily to represent reality.
Many paint with the material world in front of their eyes. Painting from nature it is called.
Others paint from the image retention of their mind. It is called painting what you ‘know’.
There is a third type of painting where the artist moves the brush and sees what happens, with only momentary pre-meditation. I try to combine the three approaches.
Experimentation is always the name of the game. Experiment versus aesthetics. Experiment can lose good aesthetics. But aesthetics alone brings us to stagnation without experimentation.
We allowed Picasso to enjoy himself with multifarious combinations, experimentation and variation as he juggled with form. And now masters or no masters we can do the same.
The problem with pricing paintings is that awareness of the limited means of enthusiastic art lovers coping with the financial realities of everyday life and the need for food on the table – inevitably sparks a ‘relative values’ debate, there should be no need for the purchaser and the seller to involve themselves in mental gymnastics at fixing or paying a price. Mutual empathy might be a good starting point(?)