Painting isn’t really what gets painted. It’s more of a dance I like to do.
It is helpful to imagine everything I would be moved to make as a painting. Not simply to apply aesthetic considerations to all things but to endow a tenderness through forethought (a pensive texture). Painting is as much a cut glass project, as a ballpoint pen drawing, my ceramic mugs are paintings, and my bike rides to. I am a painter because what is painting but recording a physical movement. Sure, in the end that movement represents an image (of cycling, or confronting “low-white”) but it’s only a recording of this very embodied practice. (Hedlund, 19)
An intentional narrowing of a bigger picture because if you were to see what was actually in that room…
Making something beautiful isn’t really the goal of art anymore. Conceptual art cast aside the pursuit of beauty in favour of a deep (and sometimes convoluted) grand idea. “It is now beginning to look as if we should be taking the dematerialisation of the art object very seriously indeed. All we need, it seems, is to know the idea, and an idea is by no means an object – a spatio-temporal physical object.” (Goldie, 75). This makes a painterly view applied to all pursuits a rebellious act. More so it is to crop a picture, put a best foot forward, record that foot in movement in the art nouveau sensibilities to offer “opulence for all” (Billauer, 2018).
Connor, the painting, says that just outside the frame there is an objective reality. This is true. That objective reality is sometimes hard to digest and all encompassing. To crop for the purpose of beauty is a practiced skill.