Entitled

4' X 3'

the second version

Here a painting I completed twice before, the process of editing is an important one for anyone. This image is an amalgam of information gleaned from group critiques and a recollection of my knitted works. I have chosen this canvas to re-enter yet again for the upcoming show “Untamed” I am curious myself about the process and where the journey will bring the work. My present impetus has been a consideration of environmental concerns as always the natural world around is a great influence.

Sunshine Coast Mural.

Please visit Sechelt BC’s Skateboard park to see the mural I recently completed. Sunshine Coast Mural. August 2013.

august

It is August in my little studio and the soothing warmth and wealth of the Coast with its clear blue skies and waters stands in contrast to the of days of heat in Egypt’s desert, home to uncounted treasures of over 4000 years ago.
My eyes travel from the ocean  to the image on my desk and my mind wanders in a world of meanings.
With a brush stroke or a word I could make it mine…

Anubis_attending_the_mummy_of_Sennedjem

scratch correctness
teachers’ red ink thinking
for the freedom of
just words
and light minds
discovery
coming my way
meetings of meanings
more even
in my hands the bundle of yarns
fit for intricate patterns
starting with
Anubis

Part of the series "A new process"

Part of the series “A new process”

AN ARTIST’S MEMO TO MYSELF

From time to time I’ve put down on paper some of the rambling observations I’ve made over the past 35 years or so. For better or worse this might be the right time to go public. It might entertain those who have nothing better to do on a rainy day.

I believe that they are my own original observations. (If I’ve included a few which can be attributed to other sources, it is because I wanted to add my response to them). That said, I do not claim originality to that which I am not entitled. But even if it is found that the genesis of an observation is found elsewhere, the syntax is mine.

I have written down a large number of observations – perhaps too many. That being the case, I will add a few each month and let the chips fall where they may. One more thing – Each is dated, which will give some idea as to the evolution of my ruminations.

The choice is yours – get an umbrella and go outside and get wet, or stay nice and cozy inside with a cup of coffee or tea or your favorite tipple, and read on.

They are presented alphabetically, but not necessarily so.

© R.B.Wainwright, Sechelt, BC, Canada

Let the games begin:

June 30th 2013

American soldiers based in England during the World War II were said by the British to be: over paid, over sexed and over here.
Similarly, might the same not be said of much of today’s art? – it is over intellectualized, over self-indulgent and over bearing.
1996

Am I an artist living in a middle class body, or am I a middle class body living as an artist?
2002

An extreme lie calls for an extreme truth.
1993

Art does not reinforce, it confronts.
1998

A quality of character that is shared by many of the artists I most admire, has been their willingness to gamble, to take a chance, to risk all – and how many so nearly came to failing.
1981

An Unexplanable CongressSplit Personality

Edge & Fall

Unfinished wire sculpture at a stage I enjoy, seeing both the story and the process. The “Edge” is hovering point, uncertainty and reflect ant of the points we meet in our relationships with ourselves, others and situations/paths we choose, We “Fall” and find our wings, or just “Fall” takes me to a level of inner belief that I witness in people, Blind? I find myself uncomfortably here too, with solid ground envy and edgy existence. Screen Shot 2013-05-29 at 3.29.26 PM

Wishes for Gradation

part of the series "A new Process"

part of the series “A new Process”

 

I Have To Admit…

“Happy Accidents” happen all the time with technique, but they also happen with theme and subject matter. The sharks I have painted for the show tonight, started as something I just felt like doing while painting in Southern Baja. I wanted to paint sharks because of the setting I was in and it was just a new animal to try on. I added flowers coming out of the gills because I like painting flowers. And put neon signs on the side because I thought it would be funny to dress them like Sushi resteraunts, also, love painting neon signs.
The big white shark, I started painting in San Fransico in a windowless room in the middle of a big metal shop. When I started the painting, I also started an Intervention marathon. My shark quickly became a recovering junkie, doing his best to start a new life with his new adorable job, but wearing it like a wet T-shirt, uncomfortable and transparent.
This is more or less how my paintings go, because I work from one side to the other there is not a terrible lot of planning that needs to be nailed down %100, so the idea travels, little things are added in an arbitrary fashion, and the story pivots. Once the painting is finished, however, it’s easy to make all the nonsense point in the same direction to one clear point. This is human nature, and one of the great things about naming a piece of art. All those ideas and images just piled onto eachother, and just one clever name ties it up like a neat little bow.
So please don’t credit me with too much depth, I may have just been watching T.V. while painting.

disappearing II, 2013

disappearing II

For a couple of years I called Canada home as well as Italy. Sharpening the view on their difference intensified my love for the particular beauties of each place and strongly influenced the series of “s t o n e” work from 1995 on.
Two stone images – the natural stone formation of BC’s coast and the sculptured stone of Rome – are smelted in one in analogy to the way we fuse new and past realities in one perception.
I was intrigued to continue that process by simplifying the multifaceted changes of perspective and meaning between then and now. The past image is taking on new reality by overlays of paint and geometrical sectioning.
Colour and form are symbolic of varied context and its interpretation.