Miro

Erik ReeL painting
Erik ReeL, opus 1746, acrylic on paper, 2012

Q: It seems to me the precursor to a lot of what we have been talking about is Miro. Rafael Rubinstein points out that Miro is sort of the original source for a lot of what is going on.

ReeL: Definitely. Miro is not only the source for a lot of the imagery, especially late Miro, but for a lot of the techniques and some of the ideas of the Surrealists as filtered through Miro’s studio practice.

Yea, in a way, Miro is the father of us all.

For example, how he used automatism in his late work, such as  when he 

ended a day, mixing all his paints together and wiping this mess onto the canvas he was going to use the next day.  Introducing a higher level of arbitrariness into his painting processes. Not to make it more meaningless, but because the arbitrary was in his sense, more meaningful., was working on another plane of action.

Sort of like those animistic cultures that believe that the divine is more truly expressed through phenomena that our modern scientific outlook would consider random. One could step further back from the situation and say both ways of typifying what we could consider random  phenomena are just two ways of saying such phenomena are further out of our hands, the realm of our human will.

A very different direction for explaining art than, say, Schopenhauer, who wants to take art ever more firmly into the will.

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