Painting Technique 2

-Blog entry 12

Many of the paintings seen on this blog site are good examples of my early attempts in working out-of-doors directly from the subject. I regard them as finished paintings much like my recent work in that they are a sustained and continuous effort towards expression of the experience.

The importance of these paintings is also similar in that they establish meaning to event by what is emotively experienced. This I also believe to be fundamental to the poetics of each piece.

I use the word “emotion” in a way to correctly identify the means of selection and organization of the materials or facts that are seen. This is emotion in that it creates an affinity by which the painting or drawing holds together, it is the determination of the right incident in the right place, the correct proportion or the precise tone, shade, and hue. In relation to poetics I also believe it is also fundamental to an overall determination of aesthetics in the quality of art.

Painting Technique 1

-Blog entry 11

Medium differences play a large but perhaps subtle role in the range pf possibilities in my work and with acrylic, oil paint or oil pastels I have discovered a use for a fluid mixing of color while retaining the structure of what lies beneath the changes offered by what is traditionally called “nature”.
Working on-site differs from my studio work in many important ways. My first pursuits working out-of –doors were practical in that they provided me with the necessary studies by which to begin my studio paintings. They also offered what is necessary for me, “direct perception” and the confrontation of fact. I should also add that it is this context that I mostly refer to with the word “nature”.

The paintings here are not simply studies and I consider them to be finished in the same sense as the studio work. In both cases these are a confrontation with fact and the interlocking of image and paint or idea and technique such that the marks defining the forms move and alter the shape and therefore the implications
of the drawn image.

Pictures and Reality 3

-Blog entry 10

Art and the study of art lead from the work to the process of creation. Reality
develops for us in our mind, not that we re-experience the subjective process of the artist but in such that we witness an objective spiritual development, a growth from germ to completion. It creates an infinite source of meanings.

Picture and Reality 2

-Blog entry 9

Thoughts or ideas are things that are real or they could not even be ideas. Both
ideas and things must attend to the other to form the model which is of the world, the whole of reality. A model can be attended to as a figure. It is by our sense perception and the data that present patterns by which objects [things] become forms. Objects and forms exist in both the real and ideal and attend to each other. When thoughts or ideas as figure attend to objects as reality we form subject.

Pictures and Reality 1

-Blog entry 8

A picture bears witness to the world and as such it creates true insights into nature, society and mind. It contains spiritual energies that increase our capacities. A picture is a model of reality; the facts of the picture extend from the reality of the world to the model of the world. It is by our sense perceptions that we apprehend the data to form the facts for thoughts [ideas] connected to reality.

Tim Cosens at Medway Valley - Video

Part 1

Part 2

On Models and Pictures

-Blog entry 7

The facts forming the elements in picture are in equilibrium in a determinate structure thereby a picture is a model of reality. As a model of reality a pictorial relationships exists between things [objects] and the pictures elements. Pictorial form exists in that things are related in the way as are the elements of the picture. The pictorial relationship is its immediacy. A picture must have pictorial form and a pictorial relationship to have logical form to create meaning.

Facts are related in form to other possible facts; facts can present other facts in a different quality.

Bridging the Line Between Earth and Sky

Tim is featured in London's Artscape Magazine, the monthly journal for the visual, performing and literary arts! Above is this month's cover. They used one of Tim's paintings as the backdrop which we're very excited about. Not only that but, Susan Scott, writer from Artscape Magazine, put in a nice article about Tim, this blog, his videos online, the Earth and Sky exhibiton and his recent work!


More from the article:

"If you want to get a good idea of what it’s like to paint landscapes directly from nature, take a gander at Tim Cosens’ blog at www.timcosens.blogspot.com. There you will find a video of the artist sketching a wintry scene, as he perches precariously on stool while wind whips his paper and snow pelts him. It makes you shiver to look at it. For the artist, however, the discomfort of painting outside is the price paid for the vitality he achieves in his work, and the weather – good or ill – is an integral part of the art-making process."

View the rest of the article in the online version of Artscape Magazine here.

On Contingency

-Blog entry 6

Facts are embedded in logical space thereby forming contingency. Contingency is a matter of the combination and separation of objects. The object is set in equilibrium between a structure of necessary connections. Things [objects] must be possible constituents in states of affairs, fit to enter states of affairs. This possibility is a contingency itself.

Tim's Earth and Sky Exhibition

I've already made a post about this but I thought I would provide some additional information here to help you readers find your way to the exhibition.

OPENING RECEPTION: Friday, November 7 at 7:30 p.m.
EXHIBITION & SALE: November 3 -29, 2008

The online version of the exhibit can be found here: http://www.theartexchange.ca/exhibitions.php?exhibitionId=69

ABOUT THE EXHIBITION: Form is a perception of a world view, in that, form is an operation of forces that carry an experience of an event, object or situation to its own integral fulfillment. The moments of these forces combine to articulate the structure of poetic or aesthetic imaging in that the inner and outer experiences interact as tensions that resolve to create intuition imbued with feeling.

This is the accuracy of vision transformed and reinforced with the emotive knowledge of lived experience.

Come see the Earth and Sky exhibit this month at:

247 Wortley Rd. at Tecumseh, London ON, N6C 3P9

519-434-0000

Monday - Friday 10 a.m. to 5:30 p.m. & Saturday 10 a.m. to 5 p.m.