By mixing paint and catalysts I recreate the push-pull forces
found in nature that shape and mold all things,
to create satellite views of this planet and places
scattered throughout the universe.
These are abstracts waiting to be called realistic, when technology "catches up".
St. Patrick's Weekend Snow Painting 2007
KEN CRO-KENEARTHWORK PAINTER / VIDEOGRAPHER
St. Patrick's Weekend Snow Painting 2007
Where the art world and real world meet.
March 16th - 21st, 2007
I started this painting while the snow storm was approaching Chicago.
This initial painting was completely dry and therefore remained as the same visual throughout this weekend paint experiment.
as the snow covered the painting completely.
I continued to paint even during the sleeting snow storm. Here is a moment when the storm has subsided but the painting is well set in motion.
I call this time within the paint experiment "Land Bridge".
It lasted a few hours and would have disappeared sooner
if the sleet had not stop right at this time.
Speed Element Paints has as much to do with timing as it does painting.
What I do is manipulate space, time and matter...
in this case the matter is paint.
Winter paintings are exciting to make because nature dominates but therefore, teaches me most at that time.
In the case of this painting, the under-painting
was completely dry before it was laid out for the snow storm.
So, the hooked black and white area remained exactly as it began during this part of the paint experiment while everything else around it was in a state of flux.
Motion and stop motion exist together
as timing with this art is everything.
Freeze-dried paint
creates incredible texture
throughout the drying process.
If you are wondering why I do this, I want to learn more about
"paint for paint's sake"as the Abstract Expressionists did.
BUT it is not just about me and what I do.
I cannot ignore a relationship with things outside of ourselves.
More importantly, I have no desire to ignore
the incredible world out there to play with!
Having had a painting studio on the edge of a creek
in Santa Barbara in the early 1980'S,
I soon learned that nature was more than a silent partner.
I wanted to extend beyond art making
to learning more about the world.
As a result, Speed Elements have set up the dynamics
for me to learn about paint and nature simultaneously.
My active paints, "Speed Elements" reveal many illusions.
It is the video camera that captures the illusions
that eluded capture by the canvas.
The triad.
My observations through a "realistic" and "abstract eye"
were eventually accompanied by the "actual eye".
