The strange attraction of beauty
This was my Derelict series. [SDk: See images from this series of work in Ros Paton’s profile gallery in the SomethingDark Contributor Directory.]
My next series of small works will explore the balance (if there is one) between the process of life or nature as growth versus the idea of decay and entropy. I am hoping to capture the essence of wabi-sabi in a true form.
I intend to focus on the beauty of the small, the humble and the overlooked through close-ups of scenes normally missed as we pass by in the forward motion of our lives. I will look at the weeds that seem to be able to grow in a speck of soil in a cracked cement wall, flowers run away from a garden growing by the roadside, and again the birds that inhabit the city.
Once I have painted a few of them and entered more deeply into the concept I will be able to determine if I am looking to find an essence of hope, or perhaps again defining the inevitable cycle of growth and decay in its various transient forms.
As is now part of my practice I do not wish to tell all, and would like to use economy of image and understatement to paint a multi-tiered concept – just like the poetic construct of Haiku. According to Matsuo Basho (1644–94), The haiku that reveals seventy to eighty percent of its subject is good. Those that reveal fifty to sixty percent, we never tire of.13
13 Kenneth Yasuda, ‘Approach to haiku’ and ‘Basic principals’, in Nancy G. Hume (ed.), Japanese Aesthetics and Culture: A Reader, Albany, NY: State University of New York Press, 1995, p. 128. Matsuo Basho was a haiku master and the most famous poet of Japan’s Edo Period (16031868).
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