Watercolor

Palette

Often I am asked why I use watercolors. For me it is an alchemical medium ——-
colors mixing with water, joining with it, being extended by it ——
creating new life where none had been before.
(Just now I thought of nascent life floating in water in a woman’s belly).

For me, this medium is a perfect dance partner.
No, it’s more than that, it is the dance’s original choreographer. Actually, for me it is Dance itself.
Watercolor is powerful, having a life of its own.
With it I have to let go because it pushes me out of the driver’s seat, takes over the wheel.
I am no longer in ‘control’.
I am sitting there beside it, but it becomes the driver, the driving force.
The water color process takes me and itself to a destination I had’nt even known existed, or that the new found place was even on the map.
Parenthetically, in life on actual car trips when I’ve gotten lost,
went off the main road and found new terrains,
it was these un-for-see-able places, these new discoveries which turned out
to be the most memorable and the most valued of places arrived at.
It’s the same way with watercolor. Whatever I put down on the page, the paint will dry as it wants to.

What I love and appreciate and honor most about watercolor is that it has this particular and unique nature.
The pigment combined with the water is unpredictable when wet, & when dry truly becomes something else
—- surprising and totally original .
For example, let’s say l work an hour on a painting —- the colors will have a certain intensity, the forms a certain identity — the painting will look a certain way,
it will be how I had, more or less, wished it to be.
Yet, after it’s dried, when I come upon it, it will look 70% or 80 % different than it had when wet.
It is not longer what I had painted but something else & new in a way I could never have imagined.
Therefore, in doing a watercolor, I never know how it will turn out.
The water color always paints itself, creates its own painting.
As you can imagine, this phenomenon is very freeing.
I figure, it’s like life. No matter how much we plan for a certain day to be a certain way
we can never, ever know what in actuality Life will have in store for us, what will be coming around the corner, and what will insert itself into the ‘picture’ we’ve so carefully envisioned.
It’s like that with watercolor. It’s alchemical and mercurial having its own intent & purpose.
What was it Wallace Stevens said?
“The Blue Guitar surprises you.”
I have realized over these decades of painting, that the more I get out of the way in the painting process, that the ‘never-seen-before’, the ‘not-yet-known’, can emerge and come into existence.
By being in the painting moment, by surrendering to it, by truly letting go, forgetting the self,
one can invite to center stage that which had for so long
been waiting in the wings, just waiting to come out on full stage, and be in the full light,
as it gets the chance finally to express itself.
I feel that by being open to this unseen’s Big Mind, whose space is unlimited and boundless ,
one can find what which yearns to be revealed,
and it is that which can be birthed in the work of art.

To Look at Any Thing

To look at any thing,
If you would know that thing,
You must look at it long:
To look at this green and say,
“I have seen spring in these
Woods,” will not do – you must
Be the thing you see:
You must be the dark snakes of
Stems and ferny plumes of leaves,
You must enter in
To the small silences between
The leaves,
You must take your time
And touch the very peace
They issue from.

John Moffitt

(Teaching With Fire, edited by S. M. Intrator and M. Scribner)

Blossom Plumb writes about Joseph’s painting in progress

“Joseph,

I look at your painting and wonder–what title? Then see
It is burning up titles as they arrive.
They dissolve in that molten line.
Is there a name that can withstand the intensity of that light?

Was it the change in the molecular structure of the new paper that flashed into your eye and hand?
Was it the idea altering the stuff of the paper that began
the never-before translation into paint-taking the see-er
by his hand and directing his gaze through the the rose palace to the until now unseen?
I lack any technical vocabulary- Only know I am looking within
the universe that is before us and that over millennia is seen by but a few light/struck artists.
You trekked the mountain; the gate opened; you saw. You pass it on.”

Joseph answers:

“I’ve not had a title come to me yet.
Perhaps it could be called INTERIOR LIGHT.
I so appreciate your words which are also filled with light.
You know the letter of Rilke’s to the Young Poet when he says
“Nothing can approach the poem except a heart filled with love”
That is a VERY rough remembrance of how RMR said it,
but that’s what I thought in the woods this AM,
‘Blossom’s heart is filled with love and that’s why she could see and describe the ptg so well’.

Yes, you’re absolutely right. It is the molecular structure of the new paper that flashed its way into the ptg. Absolutely.
I believe it was the experience of thinking it was all over for me as an artist because the paper had changed which helped another painter inside me take the brush in hand..
In fact it is the paper which has the ptg perhaps already in it.
You know the story of the child looking at the stone sculpture of the bird, and asks
“How did the artist know there was a bird inside the stone?”
It could be that that’s what’s happening here in the studio.
Mysteries to be revealed lie before me as ptgs.”

Painting in Progress