2 PHILIP MIX: THE EVOLUTION OF AN ARTIST — UPDATED!

After viewing these paintings you can read a short interview with Philip at the end. Just click a painting to enter gallery.

Penumbra

Soliloquy

Mirage

Midnight Revelry

Poet’s Bluff

Alpine Harmony

Moonlit

Sentinel

Laughing Pine

Saturna Sunset

Island Alchemy

Copper Mountain

Lantern Moon

The Gift

Avalon

Source

Miracle at Massah

Whisper

Scrolls

Cello Serenade

Presence

Intersect

Sundial IV

Metronome Adagio

The Black Night

Harlequin Romance

Paperback Suspense

An Evening With Bergman

La Dolce Vita

Radium Four

Fresnel

Leaf Green Louboutins

Le Danse Golden Earrings

Isadora

Pandora’s Temptation

The Abduction of Europa

 

With a strong interpretative design sense, the works of Philip Mix display an elegant thoughtfulness; a balance of convention with a probing inventiveness.

This excerpt is from an interview with Ariana Flynn, January 27th, 2011:

Question- Would you say you paint in any one particular style? What technique do you use?

Philip Mix– I use a technique of placing two or three colors in more or less vertical strokes next to each other to create a shift that modulates or adds depth to the surface. The forms are delineated with a soft line that also shifts color occasionally. I base the idea on stained glass windows.

Question- Do you work from life, from photographs, or from imagination? What inspires you to create?

Philip Mix– I have used all three of the resources at various times in my career but at this time I work with an idea as a starting point and play about with design. Artists of the past such as Picasso and Braque contribute to my inspiration. Not that I wish to imitate them but I am fascinated by the ideas they initiated by their own exploration. In particular I am intrigued by the question, “what is TIME?”, and how does memory affect the way we see. Many writers too, have explored this theme; it seems to be a universal question.

Question- What is more satisfying—producing art or discovering the viewer’s reaction to your art?

Philip Mix– I paint to create a dialogue and I would never want my art to be so obscure as to not be understood. However, ultimately the process of creating paintings is the prime reason for my internal drive and motivation. I feel this is a God-given thing and stopping it would be like trying to stop a train. I would never produce a work simply to satisfy what i thought another individual liked.

Question- Do you find titles to be integral to understanding a work of art? Do you feel the meaning of your work needs justification or explanation?

Philip Mix– Explanations help—the ideas I am trying to convey don’t immediately appear evident to the viewer. Yet I think all the clues, titles included, add to the substance of the work. Locations mean nothing to me nor the exact type of tree, for example. Form is my medium and light my brush. I paint to express an awe, an idea, and a puzzle.

For more information visit: http://philipmix.yolasite.com/

0 TWO POEMS

Here is a poem I wrote a long time ago, which still means a lot to me:

Untitled 

Was it from an upper room or from heaven

He came to them that night?

Was it from a couch or from a throne

He arose that night?

Was it with towel or human flesh

He wrapped himself that night?

Was it to the floor or to the earth

He descended that night?

Was it with water or with blood

He washed them clean that night?

That night!

That night!

That staggering night!

When men argued for greatness

And God was on His knees.

– HK

And I really love this poem by John Donne:

HOLY SONNETS.  Fourteen

Batter my heart, three-person’d God ; for you
As yet but knock ; breathe, shine, and seek to mend ;
That I may rise, and stand, o’erthrow me, and bend
Your force, to break, blow, burn, and make me new.
I, like an usurp’d town, to another due,
Labour to admit you, but O, to no end.
Reason, your viceroy in me, me should defend,
But is captived, and proves weak or untrue.
Yet dearly I love you, and would be loved fain,
But am betroth’d unto your enemy ;
Divorce me, untie, or break that knot again,
Take me to you, imprison me, for I,
Except you enthrall me, never shall be free,
Nor ever chaste, except you ravish me.