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The viewpoints in this Prelude entry are recaps, current evaluations & projected plans regarding the expansion of The Improvisational Art Catalog. The initial intent, creative thrust, & developmental evolution of the portfolio began as a crossover project from musical improvisation to Abstract and Non-Objective compositions. 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. AND, that anyone could enhance their viewing experience of my compositions by 'also visually-improvising each 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 Adlib Viewpoints entitled "The Beholder's Share". Of course, ‘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 viewer would share emotionally! The premiss that Music is experienced and expressed simultaneously is well established. Experience and expression occur simultaneously while observing abstract compositions as well. This is the reason I named my work Abstract Experientialism. In fact, one simple explorative, improvisational act of hand-rubbing white ink over pencil-shaded areas, led to experiencing anew, the entire original portfolio!! One, expressive experience solidified the meanings of both Improvisational Art and Abstract Experientialism ! What I had referred to as ‘Black & White Counterpoint’ (or ‘Gray Scale’) now became the ‘Blues Scale’ Series. Further exploration & improvisation led to the ‘Deep Color Scale’ Series and the ‘Pale Color Scale’ Series (see options tab). Another improvisational leap is evidenced in the ‘Line/Color/Ground’ Series! A varied, yet consistent, color palette is expressed throughout the array, and fertile, more open spaces, replace elements inconsistent with the creative intent of previous compositions. Also, consistent with the 'Improvisational Art' approach and the realization that by abstracting (extracting, if you will), small segments of any composition, certain areas might contain, therein, all the elements of a completed piece! Thus, the latest ‘Gleaned Image’ Series will embrace, 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 affect intensity of 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, and deserving of scrutiny for "aesthetic potency" as any fine-art 'detail' would! The resulting Gleaned-Image Series came about in this way. ALL FUTURE COMPOSITIONS WILL DISPLAY A SERIES OF QUOTES Attempts to bring clarity to what may transpire between an abstract image and whomever observes it must remain 'indeterminate' until the image is fully felt/conceptualized/experienced. It is my purpose to awaken the 'abstracting-capacity' of any beholder. See: Adlib Viewpoints: 'The Beholder's Share'.
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