And You See What?

This week I posted a photo of an untitled diptych. And there were a number of comments of the interpretation of the images. Of course, I did not paint any image which was perceptible. Actually, the difficulty in being an abstract painting is to ensure that no representational form sneaks into the work. I cannot fathom how or where some of these "seen" objects come from. Yesterday evening I watched a documentary on Schizophrenia; one of the most common symptoms is seeing imaginary things which are clearly not present in reality. You laugh. I am certainly not accusing my viewers of any mental disorder; on the contrary. Imagination is the trigger for association with an image. But it did make me wary. How to engage a viewer without attaching reality to my paintings. If you like what you think you are seeing, well, that's a good reason to hang the piece in your home. But if the image you have conjured isn't pleasant to your psyche, the painting is rejected. What a fine line I walk when I choose to lay down colour, form, composition, etc. So when people claim that they can easily replicate abstract work, I challenge them. Go ahead. You will appreciate my work so much more.

 

Marks, Water and Mystery

LIQUID LADDER- Watercolour on paper by Hannah Reim-Artist

There are times that inspiration for a painting is buried  deeply in the unconscious creative mind. I look at the sheet of paper before me. Nothing. I wait. And wait.

Then I release the images floating around and decide to free the beast. My hands have a life of their own and I throw down. Literally it is a battle royale  between the mind and the spirit. And voila. The brush moves itself in the most mysterious directions without any conscious  input. A construct of pure movement and a tango  between the hands and the brush. And the paper. And the paint. And water flowing, flying, splashing the walls. You are jealous, right? 

My ability to zone out intellectually is my gift to myself. And sometimes to you.

The resulting image is a mystery, a collision. And ultimately, the exact feeling I was looking for all along.

When "Untitled" is Appropriate

Untitled- Mixed Media on Gallery Canvas 3'x4'

When I first set out to paint a sizable expressionist abstract piece, I had planned to work instinctively. Most artists know that there should be a modicum of a vision. Otherwise a primate could paint (yes, I know they do). As I choose my palette, I did make some hard decisions. It should have some depth. It should have some lights, some very lights. And then, it should be textured because that's who I am. Textured. Yes, rough parts, soft parts, the dark side, and the exquisite bright. My life in paint mirrors reality. 

Off I go, brushes in hand, fabric, water, paint, an apple beside me, because I think I will eat something at some point. But I never do. Hours go by, I am so covered in medium to make the papers and the fabric adhere to the canvas. My back is hurting as usual. But I never stop to breathe.  And once done, I stand back and glow with pride because I covered a large canvas and it is awesome. For me, anyway. When I show it to my daughter's boyfriend, he asks, "what inspired you?". And the question makes me laugh. (Artists will get this).

So the only question left is the name of the piece. I realize that only the viewer can make that decision. I have made too many decisions creating it. Now it is your call. I call it "Untitled".