So Why make art? And for whom do we make it?
We are an inquisitive species. We were constantly delving, exploring, attempting to figure out the world in which we live and our place in it. We have come a very long way toward becoming human beings.
While developing we acquired unique abilities and skills. One being a need for expression. To see with our eyes and minds and make real things we encounter. In that journey we developed a desire to pass on what we experience. To share a common understanding of what makes us human. To connect with other humans. We pass on ideas by expressing in many ways what we encounter. Existentially we make that connection. All experience is at first internal. We interpret what we feel; what we see and think.
Over time we developed a deeper awareness of things. Artists have a need to record these ideas in some manner and preserve them for others to experience. Moving from blowing hand prints onto a cave wall, humans, gradually created a more systematic external form of communicating ideas through art using permanent surfaces and techniques. I understand and appreciate there are many forms of human expression but here I address only the visual arts.
At some point our internal thoughts move to external thoughts and actions and we start to create. Images which reflect our world. Within each society the arts become more sophisticated. More complex. Art spreads across the world. Every culture endeavors to express their ideas. Art begins to be made for the masses to move forward ideas in religion, politics and culture.
Artists at one time were considered mere tradesman. Common laborers in service to a ruling class to record the events taking place. Their expression initially was not to create great art. It was strictly to record the deeds and accomplishments of the kings, rulers and the clergy.
It wasn't until roughly the Gothic and Italian Renaissance periods that art began to take on a different more expressive role while still mainly in service to the upper classes.
Yet, while artists were still considered tradesmen, changes were beginning to surface. Artists were in competition with each other for commissions. They began to realize the importance and demand for their work. Artists, being who they are, began to "interpret" more. Adding their own ideas and influences in hopes of attracting more lucrative and better commissions. As their popularity increased so too their projects became more grandiose, more important and finally necessitated more demand. With many came stature, fame and money. And an appetite for their particular kind of work. The art everyone desired.
Art began to change. Artists changed. They took more risks. Attempted new subjects. Tried new ideas. Concepts in art expanded. Progressive ideas and methods were invented. The artists had a bit more control over what and how they painted. With this freedom came independence. Monetary freedom gave artists the ability to explore other secular topics. Paintings of bucolic scenes in nature. Social issues pertaining to the common man. They painted what they believed important. Paintings about real people and their lives. What has remained constant and universal is this ambivilance for artists. Create for myself or for the masses.
The need to create is coupled with the necessity to communicate. To demonstrate ideas. To do this effectively, artists need to show skill, clarity, empathy, understanding. To have an ability to illustrate, in a picture, their idea or concept. But also a need for others to see it, understand it, hopefully appreciate it and of course purchase it.
Before Covid19, with a healthy populace; relative security and economic prosperity; not to mention technology, we can afford to make art and express ourselves for no other reason than the shear act of creating. Many don't feel a need for deep personal expression or communication through art making. Art now became a diversion; a pastime. A leisure activity to wile away our remaining years.
I feel, and this is subjective, persons willing to spend a portion of their life learning to create art, are the lucky ones. They get to explore their internal understanding of life, emotions, feelings and ideas. They get to see the world very differently. More viscerally. They gain knowledge of people and places which become more vivid and meaningful and stay with you longer. You learn about yourself and who you are. What your values are, showing more empathy to others' problems and issues. And then express them in paintings.
There are artists still making art that provokes, inspires, moves, intrigues, and glorifies. Art is meant too be seen and experienced. You need to see all art up close to really appreciate it. Not on computer, IPhone or IPad. When possible, go to your local museums or galleries. Good art was and still is very difficult to make. It is instructive, provoking and hopefully touches you in some way. You get to see and maybe feel what the artist felt while painting it. You get to stand where the artist stood. To get the full effect you need to see art in person.

Visual ideas are at the core of Abstract Realism. These ideas are as varied as each human being’s perceptions, life experience and inherent nature.
While I am working I have little idea if the work will progress well. My control is vague and hesitant; doubt flooding my mind. As I progress I come to a point where I feel I need to stop - when I achieve an emotional satisfaction, not artistic satisfaction. But I am not sure what that is that makes me stop. Its an internal feeling.
When I review what I have created I am in a state of awe and wonderment at its apparent success. Really I am surprised. I am amazed it's working. Maybe once or twice, since I started painting in this style, did I have to go back and change something.
It has been suggested by many that one should step back periodically when working. Take a break and walk away. Get some distance from the piece. This is good advice for everyone.
I also use a mirror as I work. It's stationed behind me and I refer to it periodically. The mirror gives me a different (new) viewpoint and perspective. It allows me to see "better" and make judgements on my progress.
But even with this I don't know yet if I achieved a result I think I want. In many cases, as I am working, I do not know if what I am doing is working. I know, sounds crazy. Many of the marks are uncontrollable. And unpredictable. There is the risk and excitement of working this way. I am always in conflict with all elements. Color, design, pattern, paint application. How much of the image do I cover. What parts do I let show through. Should the paint be transparent or opaque? What tool do I employ? What kind of mark do I want? How much of a mark? These and other questions are in the forefront of my mind as I work.
And honestly, I make choices in a continuous manner. I work until I acheive a balance of reality and abstraction. The two ( image and abstraction) need to support each other. I don't know what that point is until I see it. Another risk here is going too far. But I am getting better at deciding this.
When applying color I mainly rely on my instincts and years of color mixing. Some concepts I consider as I work are - should the paint be visible as paint or subdued or added to the overall abstraction? Is it background or foreground? Choice of color and it's value and texture. Where it needs to be applied. I am relying on the initial image to dictate and motivate my choices.
To date I have created over forty pieces. In the beginning the abstraction was limited and tenuous. I was being cautious because I lacked confidence and understanding of the techniques of abstraction. As time went by my ability to control, in a way, the abstraction grew more confident and concise to the point one can control the abstract application.
Painting in two styles simultaneously takes concentration and deliberateness while trying to be expressive and not force my conscious will on the work. It is a challenge and a joy to experience.