ubucocu

I was ready to love it, but I couldn't quite love it, and it exposed a risk in my current mode of painting that I want to be sure to avoid. All it maintained of the butcher's-block works of his that I knew before was the dot motif mark-making, the metal gauges embedded in the wood here replaced by stamp-like circular touches. The result feels diluted, too broad of an allusion to carry any significatory weight (Kusama, Seurat ... What's the use in invoking both at once?), and too restrictive not to intend allusiveness. And therefore, what do I do in my refolding paintings? That in a context like this, which, by the way, is the best I can hope for, really the ideal one for the paintings I'm making now, paintings legible as so analogous to my own can come off characterless as well as toothless, can make AnthonyMy friend that I was with say “Not to my taste” (which may have impacted my feelings subsequently, but before which utterance, I was already underwhelmed)--I confess that that makes me pause.