Coincidentally, it was last week I was posting a note regarding the memory of a great painter I once studied with. In fact we had great discussions about the man I write of here now. About the same time on July 5th 2011, although I did not know it then, another American painter had just passed away. Cy Twombly wasn't just another painter. I was introduced to his work about 12 years ago as a student. At the time I was challenged by a suggested reference to his work and my budding interests. After some time in 2004, I wrote an article for Loudpaper Zine attempting to draw connections between the fragmented city of Seoul (in its palimpsestial formation) and Twombly's paintings of historical reflectance.
Today, it is clearer to me as I have contemplated time and again, Twombly's work and the creative processes one ventures into as artist, architect, designer, or creator at will. It has been said that Cy Twombly would paint and draw in light subdued spaces to achieve the loose 'freehand' he was so recognized and known for. It was his "experience" as he once described, when it came to making art that appears form and idea consuming. We are in effect left with the process and depth of making and the significant exposure in that.
Experience of making above all else, perhaps.
Today, it is clearer to me as I have contemplated time and again, Twombly's work and the creative processes one ventures into as artist, architect, designer, or creator at will. It has been said that Cy Twombly would paint and draw in light subdued spaces to achieve the loose 'freehand' he was so recognized and known for. It was his "experience" as he once described, when it came to making art that appears form and idea consuming. We are in effect left with the process and depth of making and the significant exposure in that.
Experience of making above all else, perhaps.
With each passing, a history is made. Cy Twombly was a master, even during his life, of making histories.
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