15 December 2025
So much of what I've been working through recently has had to do with reconciling seeing while in motion with the fact of paintings as inherently stable and framed objects. Thought it might be a worthwhile exercise to turn that on its head and see if I could approach an image in the opposite way. That is, seeing something that is normally in motion through a stable lens, maybe even an indifferent or exclusionary one. Thought of Peter Saul's Yellow Car (1957) as a successful example of this line of thinking. Dovetailed nicely with all of the documenting I've been doing of cars—they're central characters right now. But that angle failed today, twice, to become a fertile bed for anything interesting. Might have to do with a misguided intention, a way of seeing that is trying too hard to prove itself as implicit.