The sketch is the heart of a picture, its soul. It should not be tampered with too much, for a quick scribble is often rude and uncomfortable, but it is always honest, truthful, and sometimes more meaningful because of it.
My work mostly springs from mindless scribbles, jotted down in haste, and later selected from the pile to be worked up into a finished painting, but is sometimes worked up into a finished drawing as well. >>
Art seems to have come full circle. The abstaction of “primitive” neolithic painting, from the caves of Lascaux for example, or the traditional African sculptures that took Picasso on his first tour of abstraction, if hung in the right context become hyper modern. Sophisticated, and ground breaking. This ground was, however, broken 15 thousand years ago, and is is not really new any more.
My abstract paintings take the viewer to an in between realm of ancient and new. The context is different, (I do not live in the neolithic age), but art transcends many bounderies including that of time, and the differences interpoised by 15 thousand years, dissapear, are irrelivant, when a painter paints. I love Neolithic works such as Lascaux, as did Picasso, who ’s paintings of bulls leave no doubt.
These works are my cave paintings, as if painted by a Shaman , not to catch food, but to explore the inner core of my soul, which after all is what painting is about. >>
The theme behind this book came into being as a result of a search for a set of rules that would help me draw more accurate figures. A canon, or what is also refered to as a module. My study took me through the history of art, starting around the time of the Ancient Egyptians all the way through to modern times. It took me three years to complete, if you could call it complete, as new facts and infomation keep turning up. It is in fact a work in progress.
Amongst my many discoveries were the well known, not so well known, and the never before heard of facts behind the proportions of the human form.
Leonardo Da Vinci plays a major role in this work as he had also studied this subject in considerable depth and had come to similar conclusions. By applying my knowledge of geometry to what I had learned about human proportion, I found I could unlock certain secrets hidden in the famous drawing “The Vitruvian Man” that show that Leonardo knew more than anybody about the miraculous connections between these two apparently unrelated subjects.
A famous division called the “Golden Section” plays an important role here too. This division can also be found throughout the body, and throughout nature and has been used by artists and architects for thousands of years who were aware of its profound, and unique properties. >>