This is a bad photo of a work in progress. I’m going south for a couple of days.
Tom Bennett

WIP, oil into monotype on paper, 18″ x 24″
This is a bad photo of a work in progress. I’m going south for a couple of days.
Tom Bennett

WIP, oil into monotype on paper, 18″ x 24″
Here I’m publishing the 1st stage – an original monotype – and the finished overlaid painting. Looking at the two images now I can see what choices I would make differently. The energy of the 1st state has been redirected distinctly.
I’m working on some monotypes dedicated to Jeremy Lin, the phenom of the NY Knicks. I hope to post the results later.
Tom Bennett
Nod to Basch, 1st stage, monotype, 18″ x 28″
Nod to Basch, oil over monotype on paper, 18″ x 28″
Unless you’ve been having a pedicure under a rock the last few days, you’ll know the football NY Giants beat the NE Patriots to win the superbowl for the 2nd time in 4 years. Without going into an analysis of the season and the game itself and bore most of you, I’ll just say, as a New Yorker, this team is cardiac-arrest-fun with its habit of coming back from the dead and pulling out a win at the last minute.
Mario Manningham came up with, arguably perhaps, the game-changing catch along the sideline. The play was expressionist in its execution.
Tom Bennett
Uploaded with [URL=http://imageshack.us]ImageShack.us[/URL]
Manningham, monotype, 20′ x 16″
.
.
More paintings made from monotypes. These two pieces I finished a couple of days ago and I’m of two minds about them. The first, In the Corner, may be a tad too defined in the figure. I’m not sure I’m pushing the abstraction enough. The second painting I’m on the fence about as well. How’s that for mixed metaphor cliches?
Tom Bennett
In the Corner, oil over monotype on paper, 28″ x 20″
The Fat and the Thin, oil over monotype on paper, 20″ x 16″
I’ve been in Baltimore caring for my parents for a week and have been painting in the basement of the house I’m staying in. Here are some of the results.
I had the opportunity to take advantage of my father Harry’s experienced eye for design. He’s 92 years old. I asked him what he thought of the 1st piece below while I was still working through unresolved stages. He looked at it, covered an area with his hand and said, “get rid of this shape. These things don’t mean anything.” A title was born.
Tom Bennett
These Things Don’t Mean Anything, oil on monotpye, paper, 18″ x9″
_ _ _ _ _ _ _
Below, I’ve posted a photo of an original monotype and the subsequent over-painting.
First stage: Original monotype on paper

figure 1993, monotype,
Figure 1-11-12, oil on paper, 2012,
Photos of the first stages of the process I’m exploring with these current reworked monotypes-to-paintings.
The monotype is an ancient relic from the early 90′s. Drawing over the image and reintegrating the underlying forms with the new marks, I then bring in paint of varying viscosities with brush and knife. The recontextualization of form may be overtly reconsidered or more likely metamorphosizes ‘organically’ (for lack of better pompous phrasing). Here much of the original is obliterated yet structurally the new image is recognizably built on form that is now rendered abstract. I’m away from my studio this week and won’t be reworking this until I get back, so this current unresolved stage will have to ferment like a soft wheel of gouda, also known as my head.


When taking monotypes and working back into them with other media, I intend to allow the under-print to be an integral part of the process and have a dialogue with the fresh mark making. With this piece I fear I have pushed to far with the paint and the literal form. The most overt area revealing the print is the space on the right with amorphous cell-like blobs. That said, I like the spotty abstracted relationships and may accept this as sort of a red-headed step child, even though she’s a brunette.
Tom Bennett
Nice and Easy, oil on monotype, rives bfk paper, 20″ x 16″
i’ve been working with the monotype as a means for creative development and i’m finding the process to be a great way to both have fun AND mine some deeper ideas. i’m not a trained printmaker and my forays into the plastic arts in college were abysmal. yet, this time, i’m finding a real draw to printmaking in particular. i can only guess it’s my inner finger painting child screaming for more attention … yet, it might be a bit more. my drive to pick up my camera has dropped to all time lows and i spend more time drawing and playing with paints and papers than ever before. additionally, i find little interest in looking a contemporary photography. it all seems so contrived and well .. i dunno. i’m sure to find my way back sometime.
so… while i’ve samples of this new direction, they’re all at my studio and i’ve not had a moment to foto them for this entry ( i know … what a loser) i’ll be sure to post some soon
in the meantime …. this is a detail of an ink scroll 4″ x 48″
Leafing through the archives of not-quite successful prints, I came across a good candidate. I didn’t document it in its original stage, as I haven’t really done for most of the pieces in this series, but suppose I should. I will, however, search for a slide of it, which I am almost positive I have catalogued somewhere in the cave I call my studio.
I’m not isolating the printmaking paper with hide glue or gesso or anything. It should last at least until a meteor hits the earth, destroying civilization as we know it.
Hedwigs’s Spread Spectrum, oil over monotype on paper, 20″ x 16″