PAINTING IN THE TERRITORY OF NOW
by Robert C. Morgan
An overview of Herbert Creecy’s paintings requires a certain degree of subjectivity to be fully understood, but this should not be the sole means by which we come to terms with his work. There is an objective side as well, more involved with the psychology of the Ego that reveals an important counterpart to subjective experience. Through a heightened awareness of himself in the act of painting, Creecy found a way to emancipate the hidden recesses of form. By necessitating the presence of form, he allowed painting to become his painting – a subjective involvement not only for himself, but for his viewers as well.
Given the method by which he worked, it could be said that Creecy liberated himself through the act of painting, what might be understood as a cognizance of temporality, an acute awareness of time. This might further suggest that his art carried with it a direct philosophical sense of being. It is possible that he understood his role as a painter as someone living through a moment in history wherein his art could be likened to a kind of existential realization that gave attention to himself and his mortality as being integral to the act of painting.
It would be difficult to say whether or not such a moment really existed in his work. Such philosophical motives do not always reveal themselves so clearly. Even so, this does not negate the artistic desire for emancipation. Creecy was clearly interested in making paintings on his own terms. Despite any influences that may have contributed to his work – if allowed to exist consciously within his paintings – the emergent forms would ultimately remain his own and uniquely attributed to his paintings.
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