Working on collages, scalpel in hand and one of my friends was telling me a story about how he used to work on his grandfathers pig farm as a kid. He said his job was to sit around and hand castrate the little boy piglets with one swift, well placed cut and sometimes he’d have to do about 600 a day assembly line style.
Another reworked monotype. I was thinking about Frank Auerbach, the great british figurative expressionist. He’s one of the painters floating in the back of my head; his aggressive paint-slathering is of such a unique character it has hammered itself there into my sub-brain. My application isn’t mimicking his nor is it close, it’s the attitude he has with working and reworking this viscous medium until it practically destroys the surface and has to be scrapped down and rebuilt all over again. I’m having a great deal of fun exploring and tripping along with these old prints I made back at Robert Blackburn’s Printmaking workshop in Manhattan.
A Nod to Frank, 1993-2011, oil paint on monotype on paper, 24″ x18″
At the end of a project like last week’s I feel good and productive. That feeling may lead me to want to finish something else quickly to keep that feeling going.
The rush to have something finished is unproductive in its own way, though. I see some artists who get so focused on having something new to show that they never slow down to produce something that might maximize their talents.
The way I work, this is a particular issue. My raw materials are pre-made things. Without them I can’t finish anything. In addition to that I’ve found that trying to predict the materials I’ll need for a final piece (and therefore working from step 1 to the finish in linear fashion) never works out. I need options. Messes like this happen because I can’t imagine the perfect piece to solve a puzzle before I see it and have to try out 50 before making up my mind (if then).
The result is that sometimes I have to commit myself to going nowhere. I have to decide to make things for which the end goal is hazy, if it exists at all, just to have something to file in the back of a cabinet somewhere to be found 2 years later.
Sometimes I have to make things to go into the things I make to go into things I make to go into the final piece. I don’t know how many times these things will be processed, which will get accidentally destroyed, which will surprisingly “make” a piece, and which will be thrown out because they just didn’t work in the context I tried to use them in.
This weekend, I consciously put aside the idea of continuing to work on stuff I might finish quickly because the last project depleted my stocks and I needed more fodder. Some of the designs I started using in the last month worked and I could see them being useful for quilts I won’t even start until next year or beyond. That’s what these are (not all of them are from this weekend, but all are pieces I made in the hopes they’d help something else).
I do NOT mean this as some sort of “the journey is a reward unto itself” cliche. Taking these breaks where nothing final gets produced annoys the living hell out of me. Not knowing where I’m headed with these makes me feel adrift. The point is that conceiving and pursuing a single, unified goal assumes a level of control I don’t think it’s natural to have. Some people can accomplish great feats by that method, but more often my experience is that those who pursue such things limit their own conception. Entropy is the guiding force of the universe, and working against it only creates heat.
My alternative is to embrace chance. Instead of trying to limit it, I try to work within it’s confines. I don’t know what I’ll need when I need it. I may not even recognize what’s going to work right up until after a project is done. Taking weeks or months to produce a wide range of “useless” crap increases the odds that what I need is where I need it when I stumble upon it on the route to a more certain end point. Taking risks and being willing to fail allows for probability, entropy, may ultimately work in my favor.
Ultimately, seeing those chances bear fruit is the most rewarding part of this practice to me. It’s what makes the finished product so rewarding and it’s why I put up with these half-finished, unpolished pains in the asses.
Every year, the Contemporary Art Museum, St. Louis sponsors an event that brings the art viewing public directly to local artists. The premise behind City-Wide Open Studios is for St. Louis’ artists to open their studio doors in an organized fashion, choreographed by CAMSTL, so that art viewers, art buyers and art interlopers have the chance to peruse the local talent at hand.
This is the first year that I will be participating, so come out and show me some support. I will have dozens of paintings, drawings, and photographs on display. I will be showing on Saturday, July 30th, and my studio is located at 3434 Magnolia Avenue in Tower Grove East.
The event kicks off with a reception for the artists at “the Contemporary” (information from CAMSTL’s site below).
JULY 26TH. 6:00-9:00 PM.
FREE AND OPEN TO THE PUBLIC, NO RSVP REQUIRED. CASH BAR. 3750 WASHINGTON BLVD.
To kick-off the week-long celebration of local art, CAM will be hosting an Open Studios Preview Party where visitors can visit CAM’s Main Galleries to see one piece of artwork by each participating artist. For that night, and the entire following week, each piece of art will be displayed with a label of the artists name and number that corresponds with the printed map – allowing the public to see the artwork beforehand and map out their weekend studio visits. Join CAM and over one hundred local artists for a night of celebrating the local art scene and all that it has to offer. Pi on the Spot – Pi’s mobile pizza truck – will be selling mini pizzas all night!
Here in the midwest, July brings with it scorching temperatures combined with stifling humidity. Here are a few of my offerings to this special time of year.
Some of you might recall a series that I started several years ago, and that was somewhat erroneously referred to as “Photo-Impressionism”. In any case, here is a slight expansion on that old, abandoned project; picked back up in the city where it began. Enjoy.
It’s the beginning of what many climatologists say is a long period of climate change and hot summers in this hemisphere. Its hot here in New York and I wearily prepare for the heavy clammy dampness and the heat and the high electrical bills. So this image is a mild counteractive to that. I am thinking of Cape Cod Bay and its temperate tone , yet the warm yellow may mitigate even this attempt at the cool.
I am experimenting with trying to get a look that is close to the film series that I posted several weeks ago using digital equipment. The film prints were all hand-toned to get the color, which has been more difficult to match digitally than I would have expected.
What do you guys think; if you squint, can you tell the difference? I will be working a bit to try and get this closer (including trying to work in the film grain and getting rid of the bad, specular highlights which are a digital token).
I’m spending a week care-taking my parents. My father Harry painted through memorial day weekend.
Harry was a reconnaissance officer in the south pacific throughout World War 2. Rarely talks about it nor his bronze star medal for bravery. He is a very special man.
His painting above. oil on board, 16″ x 20″ He may still want to tweak it a little. I think he should call it Memorial Day.
Mom and Dad.
I realized how much I miss talking painting with him and his thoughtful insight. He took a look at a painting I started months ago and gave me some valuable input on design and rhythm.
This is it:
Daughters (revise) oil on glue gesso board, 20″ x 26″
Well, maybe not quite, but I did use copper to tone these. This is a short series (meaning these may be it; let me know what you think) in which I attempted to reduce real birds to 2D “cutouts”. I have been playing with the illusion of the real lately, in my photography, and I think that these are a good example of that.
“In painting, the curve is a hill; in photography, the hill is a curve.” -Arnaud Claass
All Nikon N80 with Nikkor 50mm f/1.8D lens and Kodak T-Max 3200 BW film.
I haven’t been in my printshop in weeks so when I found myself with some time the other night I crawled into my basement, where the etching press is located and made some images. I used some lower grade oil paint along with the professional grade inks and came up with an almost realized print. When it was dry I went back into it with oil sticks. I’m placing it into the series of nudes I started a couple of months ago.
Rubens’s Rape of the Daughters of Leucippus confronts the viewer with an interpretative dilemna. The composition illustrates the story recounted by Theocritus and Ovid of how the twin brothers Castor and Pollux (called the Dioscuri) forcibly abducted and later married the daughters of King Leucippus. Rubens’s depiction of the abduction is marked by some striking ambiguities: an equivocation between violence and solicitude in the demeanor of the brothers, and an equivocation between resistance and gratification in the response of the sisters. The energized ebullience and sensual appeal of the group work to override our darker thoughts about the coercive nature of the abduction.
I’ve decided to take this painting and place it in another ambiguous and disconnected space, distorting much of the narrative and for lack of a better cliché, recontextualizing. At this late stage it still needs some tweeking and resolution of various passages.
I’m continuing with the deconstruction and reconstruction of antique allegorical paintings. This was initially influenced by Tiepolo’s The Martyrdom of St Bartholomew. I’m concerned here with the relationship of process and the subconscious; finding the ambiguous spaces between the concrete and the obscure. At this stage it simply looks like a semi cubist painting, so I’m unsure of my feelings about it.
The support for this painting is a ready-made cradled hardboard with a texture I’m not entirely happy with. The acrylic gessoed, evenly patterned surface seems to absorb the medium too fast and too much, and the texture isn’t quite responding to the tools I’m using for mark-making. I think I’ll be returning to a little more resistant surface.
Agora Gallery - the proud sponsor of the Chelsea International Fine Art Competition, which offers contemporary artists the opportunity to show their original art at one the most acclaimed juried art shows in Chelsea, New York’s art galleries district.