Continuing and somewhat escalating the visual theme of the previous one in this series of abstract paintings ("Escape of the Cubist").
While it had been one of separate, vague, four-sided geometrical entities, we now have these squares and rectangles tilt, turn, and break up into angular forms that stretch forward and sideways, coming clearly into focus while even casting shadows in the process.
We are, however, definitely departing from the genre of Abstract Expressionism.
It seems that as soon as a sense of space was created, and certainly no later than placing non-abstract items into an otherwise abstract context, was it that we started to explore Surrealism with this painting. Of course in order to be surreal nothing abstract is required, but something realistic enough for us to recognize, even though the scene as a whole appears otherwise.
Arguably the most compelling realism in this painting (The Pillow?) accomplishes two things: (1) Establishing a definite orientation that allows the viewer to lift the scene into a three dimensional context (creating a bed in our minds) and (2) providing a clue to the one who must ask: "What's going on?"
I'd say that we are off sleepwalking somewhere, eventually to return and rest our busy minds until the shapes and colors change again...
January 7th, 2011
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