2020. Acrylic on canvas, 8 x 10 in.
Small canvas finished last week. Brushed black over rolled white and yellow ochre.
The renowned abstract expressionist Robert Motherwell, whose work I much admire, was eloquent on the role of feeling in art:
The aesthetic is the sine qua non for art: if a work is not aesthetic, it is not art by definition. But in this stage of the creative process, the strictly aesthetic — which is the sensuous aspect of the world — ceases to be the chief end in view. The function of the aesthetic instead becomes that of a medium, a means for getting at the infinite background of feeling in order to condense it into an object of perception. We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist’s task; and it is the qualities of this object that constitute its felt content. Feelings are just how things feel to us; in the old-fashioned sense of these words, feelings are neither “objective” nor “subjective,” but both, since all “objects” or “things” are the result of an interaction between the body-mind and the external world. “Body-mind” and “external world” are themselves sharp concepts only for the purposes of critical discourse, and from the standpoint of a stone are perhaps valid but certainly unimportant distinctions. It is natural to rearrange or invent in order to bring about states of feeling that we like, just as a new tenant refurnishes a house.
…[The artist’s] task is to find a complex of qualities whose feeling is just right — veering toward the unknown and chaos, yet ordered and related in order to be apprehended. — Beyond the Aesthetic (1946)