Painting the White Pillar


I’ve been working on and off for a few years on this tall, thin painting. Some of it was learning geometry first. Turns out that heptagrams are kinda complicated. Squares in circles, not so much, but yin-yangs are deceptive — they look easy but there is an undergirding complexity.

The statue at the base is by my friend, Albert Sussler. He’s a much better artist than I am: an American, Japanese-trained, master potter.

Part of me is reluctant to put my painting on display like this, half finished. It’s not done. It may never be done. Oh well — that’s how these things go sometimes. The point is that te artist and the designer are creators, principally. Sometimes teu create work within an existing theme, as here; sometimes they create utterly unique and semi-original works. The artist makes for himself; the designer makes for others— yet both are committed o the core act of making. Of shaping. Of calling something into being.

I had help, of course. Geometry teacher is Andrew Sutton — I learned from his book,
Ruler and Compass. The pillars came from the western mystery traditions by way of English esoteric training in magic, apparently. The paint came from Michael’s supply, the brushes and canvas the same.

Where is your creative power taking you? Or is it just sitting over there on the ground?

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