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The viewpoints in this Prelude are recaps, current evaluations & projected plans regarding the expansion of the Improvisational Art Catalog. The original intent, creative thrust, & developmental evolution of the portfolio began as a crossover project from improvised music composition to Non-Objective image composition. Early statements made in the first introductory pages of this site, and subsequent published materials, now need further elaboration. By calling this idiom “Improvisational Art “ I had implied that the impetus to create such compositions stemmed from improvisational music i.e. Jazz. Also, that anyone could enhance their experience by ‘also improvising each visual piece’, through the conscious process of “abstracting” (gerund of the verb; to abstract). In this sense the word (abstracting) means sustained, selective attention: “attention to what is beyond obvious” (see Aristotle!) Thus, ‘meaning-making’ (my term) for becoming conscious of abstracting is seen throughout everything that relates to Abstract and Non-Objective Art - AND - will be fully elaborated in 'Ad-Lib Viewpoints' entitled "The Beholder's Share". Of course the word ‘abstract’ also means conceptual, ideational, ambiguous …. not concrete! This confusion has plagued artists and viewers alike. When attached to the word “expressionism”, it does beg the question; what does the phrase ‘abstract expressionism’ really mean…… to the observer, in particular!?!? I sought to re-name the art I make -AND- to include in its new name, the Expressional/Experiential components that BOTH the artist and beholder could share emotionally!! The premiss that Music is experienced and expressed simultaneously is well known. That ”Experience & Expression” occur simultaneously while observing Abstract, Non-Objective Art seemed new and appropriate to me. That is why I call my Art "Abstract Experientialism" In fact, one simple, explorative, improvisational act, that of hand-rubbing white ink over pencil shading, led to experiencing anew, the entire original portfolio! One, expressive experience solidified the meaning of both 'Improvisational Art' and 'Abstract Experientialism' ! What I had referred to as ‘Black & White Counterpoint’ now morphed into the ‘Blues Scale’ Series. Number two in a explorative experiential series that also led to the ‘Deep Color Scale’ Series and ‘Pale Color Scale’ Series (see options tab). Another improvisational leap is evidenced in the colorful origination of the ‘Line/Color/Ground’ Series! A varied, yet consistent, color palette replaced the black&white array of fifty-two images and fertile, more-open spaces, allowed for elements inconsistent with this new series to be removed. i
Also, consistent with the 'Improvisational Art' approach, the realization that abstracting (extracting, if you will), small segments of any composition would contain all the elements of a completed piece! Thus, the ‘Gleaned Image’ Series embraces, in part, Hologram Theory. I say “in part” because understanding the entire theory is unnecessary to grasp the idea. For example, consider this statement: “The most interesting quality of a Hologram is that the whole represents the information & knowledge that is contained in each part, and that each part represents the information & knowledge contained in the whole”. Capturing the optical abstract impact AND intensity of affect from each composition within the ‘Line/Color/Ground’ Series became quite challenging. By 'creative discovery', areas of each completed composition, emerged as "visual quotes". When consciously abstracted, the emerging images appeared as completed pieces in their own right, deserving of scrutiny and aesthetic investigation as would any fine-art "detail"! The Gleaned-Image Series came about in this way; original compositions yielding abstracted details!!
ORIGINAL COMPOSITIONS WITHIN FUTURE SERIES' WILL ALL DISPLAY EXCERPTED QUOTES
Attempts to suggest what may transpire between an abstract image and whomever observes it, must remain 'indeterminate' until the image's affects are experienced. It is my purpose to awaken the abstracting capacity and the aesthetic arousal of the beholder. (See Adlib Viewpoints; 'The Beholder's Share'.)
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