Thursday, December 13, 2012

E. Moo Young's Abstract Art Flyer #2

I've been compiling some of my artworks in the form of a flyer to show how I've been creating and evolving. The works include paintings, mixed media collage, drawings and experimentations with digital fusions.
I'm reminded of an observation on Paul Klee- he worked as if no art existed before and he started from scratch, making the work 'render visible'. That is, the work is in the paper and he had to work to bring it out, to make it visible. So I'm always excited by what is to come each time I approach the paper and start working. What new form, technique or meaning can I bring in to existence. The approach is quite different each time and the results are, I think, unique.

Above are some of my output.

Your comments are important.

To view more artworks, visit-
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Thursday, October 18, 2012

E. Moo Young flyer #1

Here's a view of a flyer I'm planning to send out to potential buyers, galleries, companies and collectors.
Any comments will be welcomed. I'm working on new works almost daily and will be sending updates when I can. www.http//

Friday, July 27, 2012

10 Perplexing Quotes to Better Understand Abstract Art

To better understand and appreciate the variations and complexities Abstract Art, I came across these unexpected quotes:

The truly modern artist is aware of abstraction in an emotion of beauty. (Piet Mondrian)

All painting – the painting of the past as well as of the present – shows us that its essential plastic means we are only line and color. (Piet Mondrian)

In past times when one lived in contact with nature, abstraction was easy; it was done unconsciously. Now in our denaturalized age abstraction becomes an effort. (Piet Mondrian)

Painting abstract expressionistic works are the most challenging as they entail all the elements of a first class realistic piece of work, namely composition, values, etc. which need to be addressed... (Adrienne Moore)

All art is an abstraction to some degree. (Henry Moore)

One of the most striking of abstract art's appearances is her nakedness, an art stripped bare. (Robert Motherwell)

Abstract expressionism was the first American art that was filled with anger as well as beauty. (Robert Motherwell)

For a painter as abstract as myself, the collages offer a way of incorporating bits of the everyday world into pictures. (Robert Motherwell)

I have been continuously aware that in painting, I am always dealing with... a relational structure. Which in turn makes permission 'to be abstract' no problem at all. (Robert Motherwell)

For some, abstract art can be a burden... as even before one can draw a conscious decision as to what is being seen, physiological challenges are being made and processed by the eye and brain, reconstructing the shapes into patterns of recognizable objects. (Robert Lee Munoz)

Any comments? Do these quotes help you understand, more clearly, Abstract Art?

Tuesday, May 1, 2012

Surprising Quotes from Picasso

There's little doubt that Picasso was the greatest artist of the 20th century.
Many books have been written about him, many interpretations about his art and what it meant. The various styles, the symbolism and the views of the critics in the last 100 years. But his thought on art are not too well known. Here are 5 quotes that contradict a lot of what's been written... by the artist himself.
They were taken from the book - Pablo Picasso 1881 - 1973 Genius of the Century. published by Benedikt Taschen.

“There is no abstract art. You must always start with something. Afterwards you can remove all traces of reality. There’s no danger then, anyway, because the idea of the object will have left an indelible mark.It is what started the artist off, excited his ideas,and stirred up his emotions. Ideas and emotions eventually end up as prisoners in his work. Whatever they do, they can’t escape from the picture. They form an integral part of it, even when their presence is no longer discernible. Whether he likes it or not, man is the instrument of nature.”  PICASSO

“Everyone wants to understand art. Why don’t we try to understand the the songs of a bird? Why do we love the night, the flowers, everything around us, without trying to understand them? But in the case of a painting, people think they have to understand. If only they would realize above all that an artist works of necessity, that he himself is only an insignificant part of the world, and that no more importance should be attached to him than to plenty of other things which please us in the world, though we can’t explain them. People who try to explain pictures are usually barking up the wrong tree.”

“ What do you think an artist is? An imbecile who only has eyes if he is a painter, or ears if he is a musician, or has a lyre at every mood of his heart if he is a poet, or even, if he is a boxer, just his muscles? On the contrary! He is at the same time a political being, constantly alive to world events that can be heart-rending, fiery or happy, and he responds to them with his whole being. How could he possibly not show any interest in other people but put on an ivory indifference and detach himself from the life which he has received so abundantly? No, painting was not invented to decorate houses. It is an instrument of war for attack and defence against the enemy.”

“ The different styles I have been using in my art must not be seen as an evolution, or as steps towards an unknown ideal of painting. Everything I have ever made was made for the present and with the hope that it will always remain in the present. I have never had time to for the idea of searching. Whenever I have wanted to express something, I have done so without thinking of the past or the future. I have never made radically different experiments. Whenever I have wanted to say something, I have said it in such a way as I believed I had to. Different themes inevitably require different methods of expression.This does not imply either evolution or progress, but is a matter of following the idea one wants to express and the way in which one wants to express it.”
“ Is there anything more dangerous than being understood? All the more so, as there is no such thing. You are always misunderstood. You think you aren’t lonely, but in actual fact you are even more lonely.”
“ The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper, from a passing shape, from a spider’s web. That is why we must not discriminate between things. Where things are concerned there are no class distinctions. We must pick out what is good for us where we can find it - except from our own works. I have a horror of copying myself. But when I am shown a portfolio of old drawings, for instance, I have no qualms about taking anything I want from them.

Monday, April 16, 2012

Errol Moo Young - "Exploring Automatic Drawings # 2"

Exploring Automatic Drawings 16 - 30

Notes from Robert Motherwell
“What Art Holds”
Mary Ann Caws

From his reading of Anton Ehrenzweigh’s
Psychoanalysis of Artistic Vision and Hearing: An introduction to a theory of Unconscious Perception”, Motherwell took ammunition for his views about automatic scribblings or doodling as indicative of something below the normal and expected surface. Ehrenzweigh emphasizes the way in which the human psychology, longing for a smooth, understandable gestalt, is likely to “cover up and smooth out symbolic forms” in order to restore an articulate structure and what seems a rational entity, ruling out any psychology of depth.

But “to a great extent, the creative process remains on an unconscious, inarticulate level where unconscious perceptions communicate themselves directly to the artist ‘automatically’ writing hand”. So the task of the artist is to ‘disintegrate the articulate and rational surface perceptions and to call up secondary processes in the public” calling on the secret life of the emotions, those techniques of scribbling that have there direct outcome in emotional power. The musical equivalent of this is the accidental glissando and vibrato, those unintended inflections that express something more profound than the smooth surface.

In order to open up these possibilities, Ehrenzweigh shows how the techniques of the modern “automatic” painter manages to retain the “ initial stage of fluid gestalt- free perception by suppressing all definite formative ideas/”
It was this technique that most interested Motherwell. As for the general particular tensions between the verbal and the visual, they came radically personalized in surrealism

... From Matta he took the idea that forms could be torn, like wounds in the picture - again like the moral statements art could make, must make. Most important of all, it was from Matta that he learned about the automatic beginnings of the painting gesture, what became the Motherwell “doodle” or spontaneous scribble at the origin of many of his works. It is what starts you into your spontaneous creation; it is at the source of enthusiasm.. It is far from trivial.

Motherwell - In my case I find the blank canvas so beautiful that to work immediately, in relation to how beautiful the canvas is as such, is inhibiting and, for me, demands too much too quickly; so that my tendency is to get the canvas “dirty,” so to speak, in one way or another, and then, so to speak, “work in reverse,” and try to bring it back to an equivalent of the original clarity and perfection of the canvas that one began on/

... So the doodle mediates between nothingness on the empty page and the mind eager to express itself. The term ‘improvisation’, as in a 1991 work of that name, prepares exactly the aesthetic ground on which the witness to spontaniety occured.American as improvisation may sound, Motherwell’s doing them was tinged with the Oriental, because at the moment you let your “hand take over,” it is as if you’re painting with someone’s hand. You have to give up the major emphasis on yourself... here the thinking is in the doing, in the painting, in the enthusiastic way you open yourself up, give yourself over, to the spontaneous start.
...”Doodling, “ Steinberg had said, “is the brooding of the hand.”
... The initial contact with the canvas, say, this line or stroke thrown down, just like that, can lead where we may want to go.

Wednesday, April 4, 2012

Errol Moo Young - "Exploring Automatic Drawings"

Errol Moo Young - Exploring "Automatic Drawings" Numbering 1 - 15

My Story

In January 2001, I decided to challenge myself to do 100 drawings in a month. The target date wasn’t met. The first drawing was completed on the 21st of January. The 100th drawing was finished March 11, 2001.

It was an exercise in doing ‘automatic drawings,’ - line drawings, doodles to some, which evolved on the paper. The lines were freely drawn, wandering over the blank paper. The first drawing was whimsically called " Led by the Line.” This would summarize the semi conscious state in which the work was, sometimes, rapidly done. At other times the process was slow and reflective. Not in the sense of unfolding a narrative. But to see what would appear next. What would be the destination each linear journey.

Reading Robert Motherwell’s book and seeing some of the quotes, reinforced some of the thoughts I was having. Freely evolved from doodles and scribbles, but with a deeper meaning. A starting point for more involved action - such as the inclusion of color, contrast and composition. Always new in content, shape and form.
Always experimenting and trying to explore new horizons, or confined boundries, restricted, then free flowing,
unbounded by rules or styles, hoping to reach a depiction that was uniquely mine. Evolving from my mind.

Here is the first set of 15 automatic drawings in the series.

Monday, April 2, 2012

Today's Online Abstract Art Gallery #49


The 49th in a series featuring and showcasing some of my Contemporary Abstract Art Paintings, Drawings, Collage and digital experimentations and explorations.

Today's title is "Three Emerging". The abstract artwork fuses collage elements of drawing, collage elements and painting.
It's a flurry of activity, almost confusing as three figures emerge from an incarceration of expressionist paint.

Using the gallery approach demonstrates how abstract artworks can be displayed on walls in a variety of colors.

The frame and mat around the photo are used for design purposes to enhance the paintings, the frame is not for sale.

For more information about purchases and a more comprehensive view of my contemporary abstract art drawings, paintings, collages and digital fusions, visit -

more artworks on video can be seen at-
or for more information write me at