accidental but controlled and intended

accidental but controlled and intended - I have noticed when painting - 1) a work always automatically and unintentionally moves in the direction of - harmony or unity of all aspects, structures or components (eg colours, forms, placing of forms or composition, textures, etc), for example the manner in which a certain colour is (or all colours are) presented, the ways in which a certain form is executed (eg different types of brushstrokes and other ways of producing a form), the ways in which paint , pastel (or whatever media being employed) is applied or executed, the support/s and all other aspects that together contribute to the unity of a work. I often deliberately attempt to circumvent this almost automatic movement towards trying to produce unity, union, harmony, some kind of pleasing or pleasant appearance, picture, depiction or work. An example of this is the 'landscape-type' expression, presentation or depiction a work takes on. 2) many artists who work non-objectively, not-representational, non-figuratively or 'abstract' (this is a misnomer as abstract art refers to the attempt to 'abstract' certain aspects of 'reality' and to try and represent or express the abstracted elements, the pioneering examples of "pure painting", an early term for abstract art.) attempt to make their work accessible, interesting ( by adding different levels of meaning, interpretat

ion, expression,etc) acceptable, etc by adding lines, forms, shapes, colours, figures, objects and other elements that will make their work appear as realistic, refer or point to or represent some realistic or recognizable object, place, situation, mood, feeling, etc. Examples of artists who did this are Klee, Basquiat, de Kooning, those who add letters or entire words, number or entire formulas and mathematical symbols to their work, etc. I intentionally steer away from this and do not add signs, marks, colours, forms (eg triangles, arrows, circles, squares, moons, etc), etc to my work to try and achieve this objective. 3) There is a difference between making marks on paper a) merely for the sake of making a mark and b) to create a definite shape . This can be illustrated by these two works of de Kooning. In the first image the artist tried to create definite or 'clear' shapes buy the way in which, how and where the applies the paint. He even takes this process of making marks so as to produce, represent and obtain a definite shape by the the (or thick/er) dark lines he creates around the outside or outlines of the shapes. In the second image the artist make marks (in this case by brush strokes) merely for the sake or purpose of making marks. The brush strokes (or whatever way being employed to make the marks) are themselves the purpose of making the marks, the aim and the 'contents' (meaning) of the work. The words on his tombstone, Klee's credo, placed there by his son Felix, say, "I cannot be grasped in the here and now, For my dwelling place is as much among the dead, As the yet unborn, Slightly closer to the heart of creation than usual, But still not close enough." . He generally worked in isolation from his peers, and interpreted new art trends in his own way. He was inventive in his methods and technique. Klee worked in many different media—oil paint, watercolor, ink, pastel, etching, and others. He often combined them into one work. He used canvas, burlap, muslin, linen, gauze, cardboard, metal foils, fabric, wallpaper, and newsprint.[62] Klee employed spray paint, knife application, stamping, glazing, and impasto, and mixed media such as oil with watercolor, watercolor with pen and India ink, and oil with tempera