Originally posted July 22, 2011
Recognition. No, not the ego thing (“I got recognized for …). The memory or pattern kind of recognition. The phenom that makes you see Lady Gaga in your burnt piece of toast. It is something that as I am working on a piece I am adjusting to constantly. The piece at right left is an example. It’s basically a step of cubes with textures and planes. I have placed additional planes on top of planes to change not only the structure but also the perception of the thing. A basic deconstruction excercise, I would think. and then the pattern thing happens. I’m sure you saw it at first glance. I put another small slab above the lower left opening and the pattern of a doorway was immediately reinforced. To me, the image changed from a cube on a cube (my attempt at an abstraction excercise) to a pueblo form. It remains whether I will work with this image pattern or interrupt it.
Making stuff is seldom without twists. This reinforces the thought that art is about problems and questions not solutions or answers. Most viewers or collectors don’t see this part of the process. It is a misconception that these objects (paintings too, I’m sure) go from design straight through to gallery as a cohesive entity. Pity too, most of the richness in art is in the in-between where the problems and questions live.
UPDATE:

- Structure 1
“Structure 1″ Of course color changes everything just as time does. I have chosen to obstruct the opening in the piece as mentioned above and now the piece, to me, seems less “pueblo” like. In the meantime, the ongoing wars throughout the world and especially the uprising in Syria reminds me of the haphazard ways of building, the piece upon piece construction, so often seen on the news in war torn areas.
My work gets influenced, daily it seems, by the barrage of news images. The artists and sculptors of the past had a different environment within which to operate. That is neither better or worse, only a fact. and a factor.