The End of History

The End of History

Let us remove all history.
Let us erase all tradition.
Let us purge ourselves of every story
until we arrive at this moment…
Adrift, but free of ancient ties.

Let us round all edges.
Let us soften the contrast between us.
Let us muddle all hues.
Let us blend in, fit in and slide in.
Let’s let everything go until
each and everything about us is
going, going…gone.

Nameless Historically Ambiguous Art

Historically Ambiguous Art

 

Let us forget the names of every bridge.
Let us forget the names of every street.
Let us forget the names of every building.
Let us forget the names of every river, stream and creek.
Let’s not rename but un-name everything.

Let us void anything referencing any moment
from any past anywhere at any time.
Then we’ll meld together and hum.

Let us make music into a single note…
A buzzing droning sound without words.
It’s what we’ll hear in our heads
after we’ve freed ourselves from history.

Let’s unburden ourselves of words by severing their roots.
Let’s excuse ourselves from all languages.
Let’s build another tower of babble and hum.
But then, what is that?

Aldkfji ierjddl adlfkd oeirue
oeiruei sldkfjv aodif, alsdkf.
Eoridk lsdfkjdk aldkfdk irkrp,
oeik oaidfd ldkfdjdk.

111000111000111000
00011100110011001100
110011001100110011001100
000011110000111100011100

Gregory Zeorlin 5/11/2017 @ 7:33am

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Inside Any Museum

When I’m in any museum I end up spending part of the time watching people look at art. Some do the nonstop shuffle going from gallery to gallery. Others read all the educational materials before they dare study the artwork. Some seem to look at art only if it has a sitting area in front of it. And then there are those who glance at art in between checking their smart phones. (But those who must stay connected to a phone should  talk outside the gallery).

The more I’m in museums the more I realize there is no single best way to spend time looking at art.  Those who go to museums go for a variety of reasons. Almost any reason is good enough. Must you have a reason at all? When I’m in any museum I’m reminded of how complex we human beings are.  Just look at the art or watch those looking at it and you’ll see what I mean.

077 v2

Art Viewer Black Jacket

Art Viewer Black Jacket

Art Viewer White Jacket

Art Viewer White Jacket

The Influence of Titles on Art

Here’s a studio shot of “Veil 236.” This mixed and digital media painting is from my Veil Series paintings. I consider each painting in the series a visual meditation.

An open-ended title is given to each painting to avoid overly directing the viewer’s thoughts and impressions.  If I titled this painting “I Screamed At The Sky” instead of “Veil 236”  you might view the piece differently. The influence a title has on a work of art, song, poem, etc. is something not to take lightly. I could just number each painting for less influence on how a piece is viewed. Please note that the number after the main title (Veil) is for identification purposes.  The number does not indicate a date or order of completion. I realize even the simple title “Veil” will influence how others see this art.  What impressions does this painting give you? Does a title come to mind?

Veil 236. Mixed + digital media on canvas.

Veil 236. Mixed + digital media on canvas.

“Veil 75”

Zeorlin Veil 75 1920

“Veil 75” Mixed media and digital media painting 28″ x 22″ on canvas from the ongoing “Veil Series” paintings.

“Veil 826”

This painting titled “Veil 826” initially seems quiet and relates to a post I made about semi-quiet art (read it). The foreground of “Veil 826” is predominately white with traces of faint gray, gold and silver. But behind this veil you’ll see chaos, order, mystery and logic mixing together. It’s interesting to find out what others see when looking at any work of art. Each of us has point of view that’s continually being formed by the confounding moments in life that make us human.

Veil 826. Mixed media + digital media on canvas.

Veil 826. Mixed media + digital media on canvas.

“Veil 826″ is a 28″ x 22” mixed media and digital media painting on canvas completed in 2014. The number assigned after the main title is only for identification purposes. The number is not a date of completion or order in a series. The painting is from my ongoing “Veil Series” project. Please contact me if you have any questions or want more information about “Veil 826” or any of the art you see on my ZeorlinArt website.

Thanks for reading this blog. Please let friends know about it and reblog it if you wish.

Semi-Quiet Art

The current paintings in my “Veil Series” began as thoughts on how I might reduce the distractions in and around me. The challenge begins with learning restraint. I have a tendency to crowd my physical and mental space with visual and audible distraction. My questions about reduction are not about wanting absolute silence. I think of absolute silence as a blank canvas in a room without light. Silence taken to such an extreme becomes a lifeless setting. My thoughts about being a little more quiet are in pursuit of enriching life. A life with fewer distractions becomes one with more discovery. Art can distill the chaos and mystery present in everyday life. Isn’t this why people seek out the arts? Most are not longing to become artists, they want the sense of discovery art brings to our existence.

Most of the paintings I’ve made over the past year confirm using restraint is a challenge. The power of understatement eludes most of my paintings. I have accomplished it in a few out of the group. So I will continue learning how to say just enough with the thoughtful application of  line and color. There’s not a formula as every painting requires a different way of completion. But the painting (below) titled “Veil 184” is semi-quiet and says just enough for my eyes.

Veil 184. 2014. Mixed + digital media on paper. 14"x11".

Veil 184. 2014. Mixed + digital media on paper. 14″x 11″. Gregory Zeorlin

So how much quietness can I allow in my art? I don’t know at this point as there is much work to do. But if this becomes a mental exercise in the studio I should stop working now. Such a reductionist exercise eventually leads to a blank canvas. I’ve seen blank minimalist canvases in esteemed art museums and have not been moved. When I watched others view such paintings, most barely pause. A quiet work of art  is not created to go unnoticed. A quiet piece of art may challenge our sense of timing and patience. An understated piece of art shouldn’t be consumed in a single 15 second glance. And what happens if the viewing leads to contemplation? Could we allow ourselves enough time to pause? “Looking at art has potentially unexpected side effects.” Should this statement be posted at every art museum and gallery entry?

I’ll return to the challenge of making semi-quiet paintings after making sketches, photographs and writing poetry for a month. After sorting this new information I’ll see what happens to the next group of mixed media paintings in the “Veil Series.” Maybe the next ones will even convey the quest of semi-quiet that I’m writing about now.

After all these thoughts about being quiet, I still have to make noise so others notice my semi-quiet work. I’ll post images of finished paintings on my studio website while seeking opportunities to exhibit them in galleries and museums. I don’t want my art to end up in a dark room.

Thank you for reading this blog. Please forward this post to friends, art lovers and art gallery/museum professionals.

Artists Emerging From Dirt

The term “emerging artist” is a perplexing and amusing one to me. It generally indicates an artist is rising to the surface. As if, before making it to the surface, an artist is in the dark. They are like an organism in the dirt that slowly takes on form until it mutates into a real walking artist complete with a cover letter, bio, image list and artist statement. Emerging artists who are deep underground can only see a faint light from up on the surface.  So we squirm around in our dim dirt piles wondering about that light up there coming from the art world.  When an artist starts to emerge, does their head push out of the dirt so their face can follow the light? I wonder about such things.

Of course, sometimes I wonder if I’m more of a pre-emerging artist and not an emerging one. Then my mind races to all those galleries I contact that respond as if I’m just another weed to spray. So they ignore my wildflower blooms and unfamiliar perfume or tell me I cannot become part of their carefully arranged bouquet.  I return to my dirty studio to continue working and mutating. I’m slowly becoming a stronger, vibrant wildflower/weed with a variety of unusual blooms. Those blooms are fade resistant and able to tolerate heavy doses of weed spray. Could I be like a plant in the desert that knows it will bloom in the light when the time is right? Sure. Yeah, that’s me.

Plus think about this…Hothouse flowers shrivel up soon after being cut and arranged. And many hybrid blooms are only arranged a certain way.  Sometimes those flowers start to look like plastic. It’s a good thing there many vibrant weeds out here with ample roots. Even when transplanted into a variety of pots you know they will bloom where they’re placed.

Being a pre-emerging or emerging artist is OK. I do long for a bit more of the bright light. And when the bright art world light beams on my uncommon selection of wildflower blooms, I’ll keep the roots in moist soil.

Thanks for reading this bit of playful sarcasm. I’ll keep working. You can see my artwork by clicking here.

 

Veil 126

Veil 126