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Wet Paint

A Tale of Two Paintings

7/29/2023

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There are few subjects I return to more often than the landscape and the still life. When I was younger I thought it was important to mimic what the legends did and felt like doing still lives and landscapes gave me a connection to the past. As if the greats and I had the same sort of common ground to which we could all relate. Even in college, while others complained about learning fundamentals and scoffed at 'boring' assignments, I always tried to get what I could out of them, create something 'good', and find value in aspects of art I wouldn't explore without a teacher forcing me. 

Nowadays, I regularly return to both subjects, though usually with very different purposes for each. 

​The Still Life has always been "easy". You simply paint what's  there and usually there's some interaction of shape, pattern, or object that creates intrigue. Inject some symbolism into those objects and you not only have a nice painting, but one that has a message as well. It's a subject matter that doesn't require more thought, but can be enhanced with it. It's a great exercise for the pure enjoyment of painting, and also one that can lead to something more.

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The landscape, for me, has always been a little more of a self-portrait. Yes, you could address it similarly to the still life and just paint what's there, but counter to the indoor nature of a still life, you have the built in expectation of "atmosphere". Is the wind blowing? Is it hot and humid or a cool comfortable morning? Is the sun shining brightly, peaking through clouds, or unseen? Are we in the open or under a canopy? What animals and insects are buzzing around or is it before the first snow and the animals have gone silent? All these aspects add to the scene and automatically bring an emotion or start of a narrative. Add in figures and the landscape becomes a stage just waiting for the performance. 

In some sense I approach the still life like a snapshot...a still taken from life capturing a moment in time. It may be metaphorical, but is defined by its stoicism, almost sculptural in its stillness. The landscape is more like the beginning of a movie. A scene is revealed, figures find their place, and we're left with a glimpse at a developing story. 

I suppose I've always looked at a still life as representative of something that has already happened, the remnants of activity. Landscape is activity itself, fleeting and hard to define. Though many see still life and landscape as boring vestiges of traditional style and technique, I've always seen them as far more than that and have always been enamored with the ways "contemporary" artists of the day dealt with traditional subjects. While I once worried that my art was old-fashioned and fought any inclination toward tradition I've come to treasure the exploration of these time-honored subjects in my regular practice and value that connection to history that, even in grade school, made me feel like I was engaging in a secret hand-shake of sorts with artists of the past. 
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Goals & Art.

7/21/2023

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I found that if you have a goal, that you might not reach it. But if you don't have one, then you are never disappointed.
- Peter Lefleur.

Taking the advice of a fictional character whose main feature was the inability to run a profitable business is questionable, but the point stands. 

I've been feeling a bit apathetic toward some art, illustration and freelance. When the point was to enjoy the process of creation and maybe get a few virtual high-fives from friends, it was easy to succeed. One simply spends endless hours making art, design and illustrations without questioning the value or validity of such a practice and, whatever the result, you've won. You'll get the occasional bonus of a commission or sale, but you've already succeeded without that. 

When you turn your attention more toward the business side, it becomes easy to fail. All of the sudden that drawing you thought would sell starts looking a bit lackluster as it sits on the shelf without any orders, that painting you thought was meaningful seems a bit more self-indulgent, and that ever-growing pile of art (aka inventory or storage) becomes less promising and more evocative of a delusional hoarding situation than a valuable asset worth keeping. 

On one hand, I know I can't stop making art...on the other I question the ultimate value if the eventuality is it sitting in a storage unit for eternity. I've always felt that art is a somewhat self-indulgent practice. You have to believe you have something valuable to put on canvas, otherwise why would you take the time, why would you think anyone would want it, and why would anyone want it if not? But when faced with realities that counter that belief, do you persevere or take heed? Do you ignore superficial goals and acknowledge there's a deeper value or do you address the failure head-on and make changes accordingly? And what would those changes even be?

If my passion was making concrete monoliths and had a backyard full of them, would it be advisable to continue using resources and space for objects that have no inherent value? If my passion was playing poker and I never won, would I keep entering tournaments? When it comes to the creative side of things, there's a value to the maker that is hard if not impossible to quantify, but does that value outweigh the perceived lack of value the rest of the world seems to give it? Should that matter?

Like I said, I know I won't stop making art...but I also don't want to ignore reality when it comes to measurable real-world goals. I suppose, whatever the answer, I'm just not entirely sure where addressing those realities leads and if that, in some ways, negates the other kinds of success one might achieve.

Oh the joys of being an artist...on to the next painting.

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The Commercial Side of the Studio

7/4/2023

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There's just about nothing I look forward to more than getting started on a large-scale painting, free from any plan or purpose other than enjoying the process itself. And while that is how i spend a lot of my time in the studio, it's far from the only "style" i explore.

I've been given the advice countless times in my life that artists need to focus on one style, going so far as to repeat the same subject, theme, or composition exclusively. I understand the intent and the value of such "branding" but I also can't imagine anything more dull. 
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Much like my day job as a designer, illustration and "commercial" art, in my opinion, provide an important respite from the more "fine art" side of things, and even fuels thoughts and compositions I may not have otherwise considered. I often say that illustration, design, and commercial art are like putting a puzzle together while the "fine art", for lack of a better term, is like creating a puzzle from scratch. Both approaches are enjoyable in their own right, but the latter requires a deeper focus and commitment that I am not always up for. Sometimes I just want to doodle and draw spaceships and dinosaurs, so to speak, and literally. 
I think my biggest problem is not giving illustration, design and commercial art its due credit (for instance referring to "fine art" as such, inferring the others are inferior in some way). I tend to operate under the assumption my painting deserves the vast majority of my energy, but I've come to understand that its extremely important, at least for me, to take steps away from what you know creatively and explore other techniques and ideas as regularly as possible. While I will always be an artist that constantly creates, I think the future will see a bit more of an even spread when it comes to the projects I decide to pursue. 
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    Daniel
    ​Fleming 

    He paints.
    He writes.
    ​You read.

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  • Paintings
    • The Pandemic Paintings >
      • @ MARN 2022
      • @ THELMA 2025
    • Small SCALE >
      • The Grid
  • Wet Paint
  • Shop
    • Paintings
    • Prints and Books
    • Black Forest Art
    • Illustrations
  • ON VIEW
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  • Contact