Distort! [on DR Thursday]

lovers distortion1 copy

Lately, when picking images for the melange, I go into the studio, quick snap a few photos, toss them to Kerri and ask her to choose one. It’s that random. This week, I tipped a stack of canvases, much like you’d open a book, shoved my camera in the ‘open page’ and snapped this photo. A morsel of LOVERS. Also, because the painting was tipped, there is an angle of distortion that I like.

Angle of distortion. I like the phrase. It implies that there might be a viewpoint without distortion. As an artist it doesn’t take long to learn that a point of view – every point of view – is a distortion. Follow people through a gallery displaying your paintings and you quickly discover the varied and surprising nature of perception. A single painting. A multitude of interpretations, few of which have anything to do with the painting you thought you’d painted.

My grandfather used to count the fingers and toes in my paintings. Sometimes there were six toes, sometimes four fingers. It puzzled him. My response, that I live post-Picasso, was of no comfort to him. He was puzzled and delighted by my straying from the standard number. He would knit his brow if I’d have told him that I live post-Michelangelo. Those renaissance artists knew how to distort things and get away with it!

Reality. Normal. I’m no longer sure what those words mean anymore other than “agreement.” A gathering of the distortions at the crossroads to compare notes.  My grandfather would have shaken his head and told me that idea was nuts.  “We live post Einstein,” I’d say, much to his chagrin. What do you see in this painting, deep within the age of relativity? Well, it all depends upon your angle of distortion.

 

lovers - full copy

lovers, 18 x 37.75, acrylic on canvas mounted on hardboard

 

read Kerri’s blog post on LOVERS

 

 

cheers! shopping in chicago website box copy

 

lovers ©️ 2012 david robinson

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