Daily Cloud

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“Strange though this may sound, not knowing where one is going,

being lost, being a loser, reveals the greatest possible faith and

optimism, as against collective security and collective significance. To

believe, one must have lost God; to paint, one must have lost art.” –

Gerhard Richter

If you are a poet, you will see clearly that there is a cloud floating

in this sheet of paper. Without a cloud there will be no water;

without water, the trees cannot grow; and without trees, you cannot

make paper. So the cloud is in here. The existence of this page is

dependent upon the existence of a cloud. Paper and cloud are so

close.

-Thich Nhat Hahn

Daily Cloud explores a moment in the practice of two painters, Paul

Miyamoto and Karen Dana, as they tackle the same subject. Clouds

seem to be visible masses of water or frozen crystals suspended

over celestial bodies; we perceive them as something more than air

and less than object as they loom above our busy lives. Paint seems

to be a viscous color-bearing medium that relates to the liquid part

of our bodies but whose careful application by practitioners comes

to embody a grasping for metaphor and meaning in the world of

appearances. So perhaps the practice of painting clouds involves

wading deep into a territory where distinctions between body and

mind are relaxed. But painting and looking at paintings is actually

rather simple- probably even a strangely familiar feeling despite being

beyond the capacity of our defining mind. From this strangely familiar

place, many questions may arise and float by. For example, when we

mindfully view each drip, smear, and glistening of paint on Paul and

Karen’s canvases, do we tap into the psychological space of lived

experience in their studio practice, or has the cloud nourished a fresh

spring plant?

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Karen Dana’s statement:

“Window of Prohibitions

On a wall in a Madrid eatery hangs a sign that says: No singing.

On a wall in the airport of Rio de Janeiro hangs a sign that says:

No playing with Luggage Carts.

Ergo: There are still people who sing, there are still people who play.”

 

Eduardo

Galeano

Daydreaming simulates a nature of pleasurable experience.

I often look at moving clouds making imaginary shapes and stories;

from those encounters a state of association sparks. I tend to relate

my own history to what I perceive and then I wonder around the

possibilities of what is around me as an inherent part of my own

context.

That daydream concerns my mythic art-world. I try to bring those

clouds to my interior space, to my studio, to my wondering thoughts.

I try to recall that game that I played when I was a child looping “light

as a feather, stiff as a board” as a conscious act of innocence. I

wish I could levitate, I wish I could fly.

My paintings portray a sense of a charged psychological place while

providing discrete spaces at their base for introspection. They give

visceral and immediate impact to abstract dualities such as presence

and absence, infinity and illusion, solidity and intangibility. Trying to

transform the familiar into delusions or hybrids, displacing meaning in

order to stimulate new interpretations.

My practice as a painter requires a very personal process. It involves

the search of meaning, communication and growth. I move back and

forward from figuration to abstraction, I realized they are two different

methods, both necessary for me. When I depart from representational

subject matter in favor of abstraction I often find myself dealing with

unconscious thoughts and emotions.

I always seek to present images that give physical presence

metaphoric transcendence. The active figurative space offered by the

grounds the transcendence in a concrete materialism that proves no

man is an island, even if his head is in the clouds.

-Karen Dana

Paul Miyamoto’s statement:

In my youth, water and weather were favorite topics of discussion

of my farm family in

events that carry away house, trees

of significant weather. The dry hot desert winds dried

directed my chores. One of my more pleasant duties was to irrigate

the

crops so they wouldn’t dry up and result in a low production of

fruit.

I stared at clouds big or small and wondered why they were

reluctant to produce rain.

dirt under my bare feet. More importantly,

workday. Even though my persistent gaze never produced a

rain it did provide endless hours of cloud and sky watching.

very significant difference in my past 20 years in the Hudson Valley.

My

northern weather events bring a wide variety of conditions that

startle, astound and

vantage point on the crest of the valley

for many miles away. No single day like any other.

the notion that vernacular images can inspire emotional responses.

Thus, a cloud, a car, a river of water may connect with a universal

consciousness–a

– Paul Miyamoto

California. Not the weather that causes dramatic

or mountains but actually lack

the plants and

Dark clouds would also cool the parched

rain meant the end of my

drop of

There is a

simply inspire me on any given day. From my

I can see clouds approaching

My work reflects

nuance, a recollection a feeling, a memory.