What I hear the Muses tell me…

If you surrender to the machinery of capitalism, if you surrender your art-and making art, to the machinery of commodification, you will become a traitor–to your art, and to yourself.

This is what I hear…

You may deny this, but if you truly don’t know, don’t understand this, in the  core of your being, it can only be because you have already betrayed, not only your art, but your humanity.

But we need money… To have what we need, to live, to make our art. How? How then do we live?

Yes.

That’s the question you have to ask… but only if you ask it, not state it as a declaration,  an excuse,  a rationalization, as a confession of defeat–if you truly ask, cracks will open in the prison of the matrix, and that will be a beginning.

A beginning. That is the only hope we have. All we can ever do. Begin. And begin again.

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Recyclation, date unknown

Searching through photos on USB and in Picassa looking for date/ number for this. Couldn’t find it. Probably sometime in 2013, so between 81 and 295. So many misses missing: destroyed in moves, trashed, lost.
24 x 26.7cm. Not one the stronger assemblages. Came close to trashing it everytime I moved. But seeing it again, seemed interesting. Insulation or packing material, bottle caps, broken glass, street dirt. House paint, a leaf, ink, watercolor. Another face in the debris and waste of capitalism.
Reciclaytion date and number unknown.JPG

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#661

26 x 18cm Human Face. Pen & Ink, watercolor. Another advantage of pen and ink–nibs and India ink: I spent $8.00 the other day on two Derwent Graphik fine liners. With the kind of work I’ve been doing, they’ll be good for maybe 5 or six pieces. A bottle of ink and a 102 nib, if I keep it clean, will last for months, working every day. And the lines are more dynamic and less mechanical.

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#658

35.5 x 43cm Pen & ink, watercolor. (black & white W.I.P. below)
All about the tension between almost random lines and splatters, and a kind of geometric containment, with light and color resisting. Anarchy struggling with the State. Can abstraction be allegory?

#658.JPG
#658 WIP

View portfolio here ART BY WILLARD
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#657

#657Working on visual ‘ideas’ for a larger piece. Would you believe I’ve been working on the this for 3 days? It’s only 15x17cm, but pen & ink (with my beloved crow quill nib (Hunt No 2) is labor intensive, and I need lots of time between working sessions to observe and think about where it’s going.

I feel a contradiction, a painful tension between the increasingly abstract art I’ve been making, and my desire to make what I do register as resistance, as opposition to the fascist coup and all the horrors it’s begun to unleash.
But I can’t… I can’t work like that–come up with an idea to show what I’m thinking–something with an intelligible ‘message’.
The message, if there is one, is there. But it’s in the tensions between containment, ‘authority,’ and liberty of movement. It’s all visual. When I feel the need to SAY… I write a poem. And even there, it will be elsewhere… as the world we need to make to survive… is elsewhere. Do you understand this? Does this make sense?

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