Why I Painted The Miner Series
The obvious insanity apparent today in almost every facet of man's inhumanity has caused the real truth to often become the enemy and the real enlightenment to often blind and dazzle him. Recoiling into his familiar security of darkness and ignorance, mankind regressively resorts to animalism.
To me, the underground drama of the miner is the direct symbolization of our evolutionary stage in this world of Man becoming a HUMAN.
The miner, crouched in his cave world, is the fetus of human kind digging its way out of the womb of darkness, symbolically. He is digging a birth tunnel out into the full enlightenment of a human world with its dignity and integrity. He is trying to be born from this mole-like animal existence into the truly up-right world of humankind.
In this struggle against the darkness of his fears, this struggle through the misleading traps of his artificial light that seem to bind as a web and lace him in a confusing maze of shadow shapes, man has found that by his mutual cooperation he WILL survive. These helping today in this struggle are those being helped tomorrow. Each is lowered from his personal cross, each resurrected from his own tomb, All brought nearer to the HUMAN by the mutual aid and cooperation of each other.
The ability of seeing into Reality by means of artistic expression and simultaneously expressing feelings about the world we live in is the artist's task. To help intensify these feelings I have used many familiar symbols. Historically LIGHT has represented knowledge or enlightenment and BLACK or darkness has represented ignorance or evil. The Biblical symbolism is used because of its historical universality.
Naturally the subject of miners gave the key to my color selections. However, after having tried experimentations in various psychological-color approaches I found that the Black-White carried the most impact and the most vitality. By stressing the use of two dimensional flat-pattern-shape idea I was able to use continuity of line and form in bringing about the desired flux-state. This, together with what I term "psychological-anatomy", intensifies the drama and vitality of the paintings. One of the most important elements in making visually valid our sense of reality is this vitality.
If but a few viewers see my paintings empathetically I will have been justly regarded.
March 24, 1955
Morton P. Traylor