start with the truth that the mark is the painting, that the painting is something held in something — frame; room, city square, starry night are frames. that the paint mark, the first stroke is the finished painting. realize that, live with that humble truth. then, make the painting. the mark becomes the emblem, the thing in the art — the figure; person, clouds, painterly motions — they’re the content, and the content reflects the primary gesture on the board — what you made, the stroke, and how you made it. the painting is a picture of the artist — an hologram of the artist’s personality.
the emblem falls off the board if it’s not held there by the viewer. so many flecks and noises in the atmosphere surround what we feel and see — we’re in a bowl of motion. somewhere, on the painting, is another painting. that’s when art becomes art and not copy xerox; when art is as complicated and compassionate and angry in the image as it is in the viewer’s consciousness and spirit. that’s something the artist has to find in the painting. it can’t be anticipated.