Richard Bledsoe “Two Doctors” acrylic on canvas 24″ x 30″
How do artists decide what imagery to depict?
The possibilities are endless.
I often say before I start into a new work, “What am I going to paint? It could be anything.” Since I am an intuitive artist, working not from observation but from visions that arise in my mind, the potential subject matter is limited only by the freedom of imagination and the skill I have to render it visible.
Other artists might work in the great traditions of landscape, still life, portraiture, or figurative painting. I’ve come to realize that the visions I present are a blend of all these different explorations into a single unified image. I’m sort of a mutant form of a history painter, the genre once considered the highest form in the hierarchy of Western art, but much neglected in the modern and contemporary art worlds.
The difference is story telling. Rather than make a detached work of art for art sake’s, emphasizing merely formal concerns, history painting depicts a moment of drama. It shows action arrested for contemplation, rich in implications of past, present, and future activity. It injects the element of time, suggests consequences and resolutions are pending, and extends the liveliness of the art beyond the edges of the canvas.
I gained insight into the nature of my painting by going back to first principles, and what I wanted to be when I grew up.
I saw Star Wars in 1977 when I was 7 years old, quite possibly the perfect age to have seen that movie. I spent my whole youth wanting to be a film maker. And 10 years later, in 1987, that’s what I went off to college to try to be.
What I learned along the way during my college years was it was very hard to work collaboratively with all the people needed to bring together a major project like a movie. And not only that, in academia, for the most part the need was to act as a cog in someone else’s machine, working on someone else’s project.
Technological advances have made creative control at lot more feasible at the entry level these days, but this was the 1980s. Film was an expensive and unwieldy undertaking.
However, I made another discovery in college: painting. From the first moment I tackled a big surface as a student project I was hooked, although it took a long while and several changes of majors to understand this. But now I’ve been painting seriously for 25 years, and it remains as fascinating as ever.
I’ve found the way to show my vision and tell my stories without needing the resources of a film studio. As I’ve gained comprehension of my art, I’ve been clearer about what it is I do.
I’m showing you stills from the movies in my mind. The possibilities are endless.