KENT WILLIAMS RELINQUISHES CONTROL

You put your left foot in, you take your left foot out,

You put your left foot in, and you shake it all about.

                                                        --- The Hokey Pokey 

Many contemporary artists seem to have have concluded that accuracy and realism are no longer sufficient, so they start a picture in a careful, realistic style then rough it up with an element of wildness-- a spill, a splatter, a deconstruction, a crude gesture.

Here, for example, the talented Jack Unruh proves that he can master fine detailed pen work but then offsets it with a loosely applied thick, wet black brush:

Next, the talented Joe Ciardiello draws with a sensitive, delicate line, but comes back with spatters of fluorescent paint and a primitive black brush that runs dry halfway through its mission:

Each in their own distinctive way, artists seem to feel that a picture benefits from the open clash of two opposite extremes.  They first demonstrate their great control of technical skills (as if to prove their credentials) then balance it with with pagan elements (as if to avoid the shame of appearing too civilized).  When done well, this increases the range of the drawing.

Andrew Wyeth, after slaving away on a very precise, careful painting, looked at it in despair and decided the only way he could cure it was to risk everything by throwing a cup of paint right in the middle of the picture. Then he quickly left the room before he lost his nerve and attempted to re-assert control. 

One of my favorite artists who pairs control with lack of control is Kent Williams:

Note how the fine line, detailed realism of this bird is enhanced by a messy ochre stain:

It contributes freedom and a casual looseness to what otherwise might be a too tight drawing.  It improves the composition and design, expands the range and contributes a more organic, natural feel to the work. 

Here is another example of an accomplished drawing where Williams gambled with an out-of-control spill and ended up improving it beyond what tight drawing might have accomplished:

 

After paying the terrible dues necessary to learn how to draw with control, how much of that control are we willing to surrender?  That is the question: