Wednesday, December 27, 2006

Revolution (5"x5") Hold(currently in gallery)






7 comments:

Anonymous said...

In this posting and the prior three, discovery is taking place. In Violet Ribbon I'm sensing "un-self-conscious" discovery in the treatment of the negative space. There exists a "free and easy" quality in the paint. Prior works appear overely labored; too considered. Take a look at the manner in which John Singer Sargent and Goya handle empty space. One can sense a change in tempo of the movement of the paint. Tom B.'s treatment of negative space is seductive, however limiting...it merely acts as a backdrop to a painting in a decorative way. It's too pristiline...not enough "guts." Take a look at Titian, Rembrandt, Manet, Chardin. In the handling of negative space, each of of the artists delt with "push and pull" of emptyness/pure abstraction. Your best work will result from fusing the natural painterly quality in violet ribbon with the quality of light you are able to achieve in other works. Although you must arrive at this end through a process that appears unlabored.

Anonymous said...

There's one exception to Tom B's backgrounds. The treatment of the negative space on the piece at this link below is the perfect model of what I attempt to describe up above: http://www.tombuechner.com/so99_25.html

In this piece the negative space is inventive, and not merely a decorative backdrop with complementary modulated tones. In fact, it's outstanding, and possesses the same kind of "gravitas" as evidenced in the backgrounds of C├ęzanne, Manet, Goya, and Rembrandt. Essentially, there is not much difference between a Franz Kline, DeKooning, Rothko, and the "non-objective" nature of paint in this example of Tom B's background. How to paint "nothingness / the air" is what enables a "naturalist painter" to transcend the objective world and perhaps achieve something sublime. On must realize that most contemporary painters (with exception of a few such as Antonio Lopez Garcia and Lennart Anderson) merely illustrate the sublime, rather than paint it. Daniel Sprick only illustrates the notion of a metaphysical world…he does not paint it. Ever since the advent of Photorealism and Postmodernism, there has been an influx of contemporary realists that merely render form with a commercial / illustrative hand at the brush.

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