S_V_H Baby Love final image

Listening to Ironic by Alanis Morissette.  This is the final image of this painting titled Baby Love 24 inches by 6 feet.  The words chosen for this work because they would challenge some, maybe most, viewers.  The line from the music that they relate to is “Instead of breaking up let’s start some kissing and making up.”   Is that music not sweet and innocent, which was apart of that Time that I was raised and help formed a foundation of many of us.

Listening to We Belong by Ferry Corsten.  A lot of time was spent trying to do something different with the couple of musical ties, and that is where Jackson Pollack comes in.  The style ideas come from his painting Number 2 1949 ( A  much better image is in the book Jackson Pollack that was publish for The Museum of Modern Art and the Tate Exhibition of  1998-99). No matter, the ties are not Pollack they are at best, little inserts, to shake up the larger canvas and add interest.

Listening to Chopin Nocturne #2 In E Flat, Op. 9/2.

One thing missing from this work are the little solid circles inside the notes that give them motion.  They just did not fit with this composition, no matter how they where drawn and colored. Overall, the canvas could have been improved with some added impact on the far upper left. Although rethinking that, the  right is strong in appearance and maybe that helps to push this image across the canvas.   The coloring evolved to try and push this work more in the color scheme of the  thought of what the appearance of the musical group the Supremes might have been (TV back then was black and white).   For example a touch of that choice of coloring is seen above in that pinkest red rest (the small circle with the slanted line).

Listening to Ophelia by The Band and then Home Remedy by Adrienne Young & Little Sadie.

Time to move on to another 6 foot work.  This size is chosen again, because it is small enough to re-work it if needed.  This artist is still thinking his style still needs a lot of work and so there is this aching and need to experiment.  The basics are there, but the feeling is that things just have not been pushed hard enough.  A lot of work remains.  Looking forward to that.

Listening to Jackson Browne For A Dancer.  Nice music to end this page.

Scott Von Holzen

S_V_H Ain’t No Sunshine image4 final

First the slang word ain’t is detested, and yet when sung by Bill Withers it seems to work.  It is cold in Wisconsin and  today the general weather seems to be effecting the concentration and drive.  Last night was spent painting in some, and cleaning up, sharping some edges, and signing.  Tonight, this work will be gone over and let go, but the mood, right now to start another, is lacking some enthusiasm.

Lately, there has been a number of these two foot by six foot canvases and they are starting to look somewhat repetitive.  There is a anxious creative need to do a Classical work to shake it all up, but the feel for this music has been weak, and unimpressive.  The music is searched out and played and the information is gathered about how great the work is, but it is hard to be convinced.  Do not know where this comes from.  Time was spent browsing Mozart, and Vivaldi, and just recently Chopin’s waltz Op. 64 No. 2.  The canvas is only eight feet by three feet a must to break this two foot binge of lately, which means about 32 notes.  That few of notes for a Classical piece makes it is hard to find a start and end point.  The start point is going to be a start it here because the measure breaks with the previous measure. The end is harder because a lot of good classical music just keeps moving.   Lucky in this Chopin piece there is a rest that pauses the action and a start that can be chopped off.  Also, a nice early version of this music was found in the Public Domain.   So, time to pump up the creative juices and plunge ahead.  We shall see, if the music fits the height and if so it should be a go.

Back to Ain’t No Sunshine.  There has been a lot of enjoyment listening to the six different versions of this music by: Bill Withers, Aaron Neville,  Bobby Blue Bland, Buddy Guy, Eva Cassidy, and Sting with David Sanborn.  With this variety it has kept the music fresh.  Enjoyed putting down round notes, but would have like them to be larger, like in Winter.  The colors of this work amaze, because they come not from preferences but from the need of the work.  Strange, the work drives the colors, that is driven by the music that in this case comes from a personal arrangement.

A lot of time and frustration was spent with the three ties. Originally they where a lighter green. All have all been washed off and repainted, and changed in style, to try and make them look fresh. Every work of art moves the art forward.  The problem with the style of the ties is that the forward movement has been in a number of different and scattered directions.  Similar to the creative path of the eighth notes which have lately stopped changing in jerky steps with the painting of Naive Melody.

The words are strong and colors sharp and fitting with the music, an exceptional work that challenges the Birthday painting and makes the interesting Cry Me A River, finished near the end of November, seem dated in style.

Scott Von Holzen

S_V_H Winter final image

Winter is finished and this is the musical work that changes everything, for now.  This work finishes the evolution of the note. Early paintings from  2005 into 2008 resembled the typical musical note.  What is meant is that the note was drawn as a oblong and laid almost flat.   Starting in the spring of 2008 the notes began to be lifted for two reasons: first by increasing the height in comparison to the width, more notes could be placed across a canvas.  The other equally important reason for raising up the notes was to give them more of an  active, and dynamic appearance.  Looking back it appears that early 2010 the notes where becoming quite vertical, thinking Sandman.

Then it was the use of a number of different lids, from the painting jars, that where used to create the circles seen on Naive Melody.  Not only did this solved the 8th notes style issue, for now, but it opened the door to Winter to finish the notations move to vertical.   It seems so simple now, but it would not have work until now: time for everything, and everything has its time.  Art is at its best when the artist is right on but of those points, for now.

Winter is based on the beautiful music of  Tori Amos.  Three different versions were played over and over and over, and are being played right now.  The music is only hers, this art is only the expression of the feelings for the love of the music.  It has always been about the music.

Scott Von Holzen