{"id":9770,"date":"2022-03-31T10:28:38","date_gmt":"2022-03-31T10:28:38","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=9770"},"modified":"2022-03-31T10:28:38","modified_gmt":"2022-03-31T10:28:38","slug":"the-humming-air","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=9770","title":{"rendered":"The humming air"},"content":{"rendered":"
\"\"

It’s There in The Humming Air, Bill Santelli, acrylic on canvas<\/p><\/div>\n

On a quick visit to Bill Santelli\u2019s studio last week, I saw a recent painting that knocked me out. In my Instagram post about it, I touched on some of the things that really work and give it a sense of natural depth, as if I\u2019m seeing an actual scene in nature, with a slightly altered mind, as it were. There\u2019s a shape that reminds me of a sunflower and the tendrils of paint reminding me of sprouts\u2014I called them fractal rivulets in the post. The presence of white space, and the shape it assumes throughout the image, has a very kinetic unity and tension. I love the relief of white space in any abstract\u2014and the shape the total white space assumes, sort of rearing up in the center of the painting\u2014the way it sets off highly saturated color and offers a respite, a bit of emptiness that plays off the intensity of what\u2019s going on around it. It really works here. The diagonal lines, in sets of three, on a bias, rather than a balanced grid, also contribute to the sense of energy and movement and surprise.<\/p>\n

Bill: It\u2019s called It\u2019s There In the Humming Air. <\/em>I think I did talk to you about this. I was going to do this other painting, and it\u2019s the first time I\u2019ve painted over something. Underneath it was a painting of the bones of a church I took a picture of in Washington DC. It was like a Jehovah\u2019s Witness or something, not a cathedral, a glow coming out of the windows as we drove by. It was a blurred shot I took as we drove by. The painting never got going. Then you and Bill and I were at Bill\u2019s house and we were talking about painting over stuff and I said I had this painting and I was going to paint over it. There was an outline of the church, so that\u2019s why there\u2019s the slant.<\/p>\n

That has a lot to do with it: the asymmetry of the three lines and three here, so that it brings your eye up to the upper right corner. And it has a lot of white in it. This has a lot of white compared to what you usually do. <\/strong><\/p>\n

B: That\u2019s a good remark, that\u2019s what I was feeling. I got over here and there wasn\u2019t much of the underpainting of that church and there\u2019s still an outline here of a window and I was thinking this needs something different and didn\u2019t want to keep going with the red and the yellow, so I went with white.<\/p>\n

\u00a0It looks so much like enamel, not acrylic. Like the Alkyd paintings of the color field painters. <\/strong><\/p>\n

B: Some of these acrylics are glossier when they dry. We\u2019ve had this conversation ongoing, the whole idea of hard-edged painting, getting rid of the personal connotation in the title. I was saying last time we talked I\u2019ve been thinking of this other series of hard-edged painting with no subject, just color.<\/p>\n

Just improvisation. And that\u2019s what I do with the taffy. I\u2019m not trying to say anything. I\u2019m just getting it to work formally and by the time I\u2019m done, this is a field with the sun over it or it has some other resonance. I don\u2019t start out trying to express anything definite. <\/strong><\/p>\n

B: It\u2019s so interesting, I\u2019ve been watching videos of Bryce Marden, one is an interview at the Tate Gallery and another is a lecture he gave in conjunction with the show. He\u2019s articulate. He was talking about numbers and the importance of the numbers, and rules, and how he approaches painting. I\u2019ve been marveling at the surface of his work. He said it\u2019s a process of mixing turpineol, the oil paint and beeswax. The paintings never really dry. He goes back over the surfaces to level them off with palette knives or whatever.<\/p>\n","protected":false},"excerpt":{"rendered":"

On a quick visit to Bill Santelli\u2019s studio last week, I saw a recent painting that knocked me out. In my Instagram post about it, I touched on some of the things that really work and give it a sense of natural depth, as if I\u2019m seeing an actual scene in nature, with a slightly […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-9770","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nThe humming air - represent<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thedorseypost.com\/?p=9770\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The humming air - represent\" \/>\n<meta property=\"og:description\" content=\"On a quick visit to Bill Santelli\u2019s studio last week, I saw a recent painting that knocked me out. 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