There's something very sensual about this painting...could that be Adam before he bit into the apple and the serpent by his side? Very interesting stuff in just a few not-so-simple lines and mingled colors.
Hi Nick, This work's powerful understatement (within an energized color-field) caught my eye immediately. The glyph-like forms, to me, have an eastern flavor, yet also an intriguing generic 'linguistic' feel: the work talks. Or rather, sings. This brings me to the color 'key' of the painting. You've chosen 'red'. Yet not just any red. In my own experience I've had more failures than I care to remember in paintings in which red was the dominant color. It's a color that seems very sensitive to the most subtle of changes towards warm or cool, or of value and opacity/transparency. The whole feel of a work can change incredibly quickly I've found.
Here, in RM1, your equal fluency within the visual arts and music seems clearly evident to me (and anyone who knows anything about Nicholas Simmons will know that he's a powerhouse, not only in the visual arts, but also in music, these two careers running in parallel, and in each he was won wide acclaim.)
There's a minimalist feel here, spare instrumentation. But it seems to be a 'jam' within a 'maxed-out' soundscape. The amps are cranked up, but there's 'more where that came from'!
Nick Truly this book is fantastic .... ethereal, light .... perhaps like the music!. By time I did not see a work so exciting!! The possibilities are endless .... A gigantic work Nick .... Congratulations! A big hug. jk
Is this fluid acrylic or watercolor? Doesn't really matter, of course. That red background is like hot lava...the drips and 'splots' of white are startling against it. Your mat and frame choices complete this to perfection. Bravo, Nick! You have another winner.:)
PG - I'm happy you like it, I wasn't sure for a long time and it floated around the studio in various "? Files" until I decided it was a matter of presentation - always a consideration, perhaps even moreso with abstract work.
Rhonda - sounds good to me (the apple, that is!). I have a very talented artist friend, Viktorija Bulava, who says ALL art is...ahem...sexual. (google her work!)I might add "or political" to that, but I generally prefer the sensuous side. :)
Wayne - oh if I could write (and paint) like you. I can do this sort of thing easily enough, it might be more about having the guts (callowness?) to put it out there. Motherwell's A la Pintura series set me back several paces eons ago and remnants of it still come out, such as in another painting of mine Bustin' Out For Rosey, (http://www.nicholassimmons.com/paintings/recent-large/bustin-out-for-rosey.htm). When it's all said and done, this is where the heart is. Thanks once again TWMDMWB, your words are always music to the eyes and ears.
Susan - it's certainly not everyone's cup of tea. I have a good friend whose gag reflex goes bonkers when confronted with work like this, and I know she's not alone. But we of the more refined sensibilities..... ;)
Juankar - one of the best things about hanging out with guys like you and Wayne and Dake and Moore et al is that any key, any tempo, any time signature is an adventure, I feel totally free around you cats. Un abrazo, and I'll be seeing you soon!
Teresa - nah, it's easy - a few brushfuls of masking fluid, a few ounces of paint, a few confident strokes
Dake - I did a workshop this weekend where that adage proved itself over and over. The more I (we) get out of our own way, the purer the result. I'm sure there is a fitting Bruce Lee quote in there someplace. I'm nervously anticipating what the next wave from Perth will be, and I'm not talking down at the beach~
Nancy - you've got the Google figured out! Don't spend too much time around here, get that show together and set that rad gallery space on fire!
Deb - you're easy, you like everything that's cool! :)
Billie - I'm not sure, I did it last year during a demo at SCAD and can't remember what I used, except it was Da Vinci Paint. But as you say, it doesn't matter, it would be easy to do with watercolor or fluid acrylic. All the whites are the paper, the marks were made with masking fluid. Not framed yet, but it will be similar to the pic.
Encre - nice to meet you, thanks for stopping by, I'll return the favor asap.
Pierre - merci beaucoup! Hoping you might make it to Seneffe in October.
Nick, you can do everything you want, your art have no limits, even in painting and music. The simplicity in your work is pure art. I'm glad to be in your circle of friends.
Enrique - "art" and "limits" should be two mutually exclusive terms, si? I'm proud to be in your circle, and you're one of the very best of the Spanish painters, a watercolor powerhouse.
Bill - I was talking recently with a world-renowned artist who shall remain unnamed here...and we discussed the effects of LSD experimentation on our art, and agreed it was an important and valuable period that we wouldn't trade for anything. Just hide the car keys!
Joel - I guess it took all of about 1 minute to do, not counting waiting for the masking fluid to dry. But then some of my favorite Coltrane lines last about one measure. It certainly wouldn't do for people who want to see an artist sweat and struggle!
RM1 - 17" x 29"
21 comments:
This is cruel!
Now i know you're showing off!
Dynamic!
Stunning!
Simple!
what more can one say..no distortion here.. just pure clarity and now, how about something in Italian..
Brillante!
There's something very sensual about this painting...could that be Adam before he bit into the apple and the serpent by his side? Very interesting stuff in just a few not-so-simple lines and mingled colors.
Hi Nick,
This work's powerful understatement (within an energized color-field) caught my eye immediately. The glyph-like forms, to me, have an eastern flavor, yet also an intriguing generic 'linguistic' feel: the work talks. Or rather, sings. This brings me to the color 'key' of the painting. You've chosen 'red'. Yet not just any red. In my own experience I've had more failures than I care to remember in paintings in which red was the dominant color. It's a color that seems very sensitive to the most subtle of changes towards warm or cool, or of value and opacity/transparency. The whole feel of a work can change incredibly quickly I've found.
Here, in RM1, your equal fluency within the visual arts and music seems clearly evident to me (and anyone who knows anything about Nicholas Simmons will know that he's a powerhouse, not only in the visual arts, but also in music, these two careers running in parallel, and in each he was won wide acclaim.)
There's a minimalist feel here, spare instrumentation. But it seems to be a 'jam' within a 'maxed-out' soundscape. The amps are cranked up, but there's 'more where that came from'!
cheers
wayne
Very powerful! Great composition and depth. Has a very sensual feel to it...no pun intented. I love it!
Nick
Truly this book is fantastic .... ethereal, light .... perhaps like the music!.
By time I did not see a work so exciting!!
The possibilities are endless ....
A gigantic work Nick .... Congratulations!
A big hug.
jk
*green with envy*
I agree with WR's last paragraph.
Watercolour is undeniably at it's most powerful when it's caused rather than made.
Nick - it is beautiful. I'll echo what Wayne said with such eloquence - his comments really do say it all.
Stunning.
Is this fluid acrylic or watercolor? Doesn't really matter, of course. That red background is like hot lava...the drips and 'splots' of white are startling against it. Your mat and frame choices complete this to perfection. Bravo, Nick! You have another winner.:)
Pure and powerful! As a calligraphy lover, I find it most exciting!!
simple and beautiful !
Wow! What a strong visual statement! Intriguing..... !
PG - I'm happy you like it, I wasn't sure for a long time and it floated around the studio in various "? Files" until I decided it was a matter of presentation - always a consideration, perhaps even moreso with abstract work.
Rhonda - sounds good to me (the apple, that is!). I have a very talented artist friend, Viktorija Bulava, who says ALL art is...ahem...sexual. (google her work!)I might add "or political" to that, but I generally prefer the sensuous side. :)
Wayne - oh if I could write (and paint) like you. I can do this sort of thing easily enough, it might be more about having the guts (callowness?) to put it out there. Motherwell's A la Pintura series set me back several paces eons ago and remnants of it still come out, such as in another painting of mine Bustin' Out For Rosey, (http://www.nicholassimmons.com/paintings/recent-large/bustin-out-for-rosey.htm). When it's all said and done, this is where the heart is. Thanks once again TWMDMWB, your words are always music to the eyes and ears.
Susan - it's certainly not everyone's cup of tea. I have a good friend whose gag reflex goes bonkers when confronted with work like this, and I know she's not alone. But we of the more refined sensibilities..... ;)
Juankar - one of the best things about hanging out with guys like you and Wayne and Dake and Moore et al is that any key, any tempo, any time signature is an adventure, I feel totally free around you cats. Un abrazo, and I'll be seeing you soon!
Teresa - nah, it's easy - a few brushfuls of masking fluid, a few ounces of paint, a few confident strokes
Dake - I did a workshop this weekend where that adage proved itself over and over. The more I (we) get out of our own way, the purer the result. I'm sure there is a fitting Bruce Lee quote in there someplace. I'm nervously anticipating what the next wave from Perth will be, and I'm not talking down at the beach~
Nancy - you've got the Google figured out! Don't spend too much time around here, get that show together and set that rad gallery space on fire!
Deb - you're easy, you like everything that's cool! :)
Billie - I'm not sure, I did it last year during a demo at SCAD and can't remember what I used, except it was Da Vinci Paint. But as you say, it doesn't matter, it would be easy to do with watercolor or fluid acrylic. All the whites are the paper, the marks were made with masking fluid. Not framed yet, but it will be similar to the pic.
Encre - nice to meet you, thanks for stopping by, I'll return the favor asap.
Pierre - merci beaucoup! Hoping you might make it to Seneffe in October.
Peggy - thanks, and nice to see you on Facebook!
August 30, 2009 11:01:00 PM EDT
Hi Nick
The simplicity of this one is misleading! Agree with others...its a very powerful statement!
Nick, you can do everything you want, your art have no limits, even in painting and music. The simplicity in your work is pure art.
I'm glad to be in your circle of friends.
A very big hug.
Enrique.
Hey Nicholas - having fully experienced the 70s.. I have little trouble flying into this painting. It's all orange sunshine to me... so beautiful.
I feel pulled in, a bright universe seeking exploration - a meditation of the senses.
Wonderful, Nick, as always!
Sandeep - sometimes less is more!
Enrique - "art" and "limits" should be two mutually exclusive terms, si? I'm proud to be in your circle, and you're one of the very best of the Spanish painters, a watercolor powerhouse.
Bill - I was talking recently with a world-renowned artist who shall remain unnamed here...and we discussed the effects of LSD experimentation on our art, and agreed it was an important and valuable period that we wouldn't trade for anything. Just hide the car keys!
Dorice - thanks and glad you like it. :)
somehow i missed this. work? various diversions? who knows.
i like the boldness and simplicity. i like the fact that it "seems" so simple but takes years of experience and guts to achieve.
simple. elegant. expressive and eye catching. well done!!!
-- joel.
Joel - I guess it took all of about 1 minute to do, not counting waiting for the masking fluid to dry. But then some of my favorite Coltrane lines last about one measure. It certainly wouldn't do for people who want to see an artist sweat and struggle!
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