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Megan Hinton

Paintings, Drawings, and Prints

After drawing the pile of ink and white gouache drawings, in an attempt to loosen up and start with a more lyrical approach to painting, I began to question the bigger picture, the subject matter. Why was I drawing landscapes, windmills, masses of forms clumped together? Perhaps it’s not important to know why. Maybe that’s the responsibility of the viewer or the art critic. The viewer can determine the meaning or an interpretation. This was justified after I read some of Robert Motherwell’s writings. He quoted Picasso who said “Everyone wants to understand art. Why not try to understand the song of a bird. One loves the night, flowers, everything around one, without trying to understand them. While with paintings everyone must understand. If only they would realize that an artist works out of necessity…”  Moving through the drawings, quickly, without trying to care about outcome or meaning, did bring about an informality that I was seeking originally. As usual I decided to draw what interests me visually, but this time without looking directly at a reference point. Some of the drawings worked well, others were unsuccessful. That outcome says quite a bit about the process. Painting and drawing does not always create some sort of magical or sublime result after the artist moves the implement around the surface to create marks. Rather it’s about about trial and error. More trial sets up the possibility for less error and vice versa. The daily practice and perseverance eventually draw out the sublime moment of discovery. Albeit a rare occurrence, it’s something to keep working towards. Perhaps that is overall the “Why?”

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