Friday, January 30, 2009

Even:


the other ken weathersby 6h, 1-30-2009
Digital
Ken Weathersby
click image to enlarge

Monday, January 26, 2009

Balanced 2:


bird 3, 2009, Digital Sketch, Ken Weathersby
click image to enlarge


Treat the given visual and physical features of drawing and painting (line, surface, paper, color, canvas, stretcher, graphite, paint, etc.) as terms in a lexicon, as objects, as things. Look at these things neutrally. Selectively, dispassionately reject an identified term, removing it from the piece. Eliminate a term that seems central, leaving other, related surrounding terms in place. Seek an unprecedented and unneeded variation on an existing term and insert. Invent a new unneeded term and insert. The absence of an old term or the presence of a new term may have a consequence, but neither the change, nor its consequence should be stressed. Handle the new array of old and new terms without skepticism. Misalign them, close them off. Assume they will support each other. See them as if they had normal rhetorical roles.

Thursday, January 15, 2009

Attempted melioration:



minimal surface painting, 2008, Acrylic on Canvas over Wood.
Ken Weathersby
click image to enlarge


A genuinely minimal painting, it has only one continuous surface rather than a separate front and back. It is still an unequal two; It has both an outside and an inaccessible inside.

Monday, January 12, 2009

Awkward painting:


Sometimes the simplest idea can engender complicated, difficult process. Rules and measures can accumulate in fragile structures that dictate sequence, delay and contingency. Desire triggers cascading complexity.

Thursday, January 1, 2009

Identity / same as:




top: murder of abel, 2007, Ken Weathersby
bottom:
john entering the wilderness, c. 1460, Giovanni di Paolo
click images to enlarge

I posted in November about establishing the common identity of literally different forms-- little panels inset within the surfaces of my paintings. These different panels are seen as being somehow the same thing but reversed or displaced (as in murder of abel, above). This has entailed using figure-like or figure-derived shapes, partly because their irregularity and lack of symmetry takes their sameness beyond the generic sameness a geometric form might have, to a specific sameness, a unique identity that makes different things somehow the same.

I notice that in Sienese panel paintings, the way figures are used in continuous narratives suggests a related establishing of identity. In the Giovanni Di Paolo painting above (St. John cycle, the Chicago version), instead of a simultaneous appearance of two young men (a depiction of two lookalikes, maybe John and an imposter), we assume the singularity of this uniquely shaped, sized and colored figure, project the element of time into the painting, and see not two figures, or even two distinct depictions of the same John, but the same John twice.