Last week I posted a WIP and this week I post the finish, which isn’t much different. I made a few tweaks here and there; I took a more accurate photo. Tell me what you think.
Pheromoning, oil on canvas, 36″ x 62″
Last week I posted a WIP and this week I post the finish, which isn’t much different. I made a few tweaks here and there; I took a more accurate photo. Tell me what you think.
Pheromoning, oil on canvas, 36″ x 62″
The title is a reference to the non-committal online connections that pass for friendship bonds today. The whole concept is silly and sad. That said, please don’t un-follow me or I’ll cut my ear off.
With the paint into monotype I’m continuing to explore a guarded, nuanced and neutral palette with some higher hues thrown in. Here the cool grays got too blue and of course the yellow blares out a bit. The figure may have pronounced itself rather more than was intended, but I’m ok with it.
Unfollow, 2008-2012, oil into monotype on paper, 18″ x 12″
Jeremy Lin is the the cinderella story of the NBA this season. He was a no-one who came out of Harvard and was on the bench for the New York Knicks when he was chosen to come on the court where he went on an electric run to rejuvenate the team. I had made a couple of monotypes dedicated to him but both were unsuccessful, poorly formulated attempts. Here I took one of these flat prints and I’ve begun the process of reforming a composition with a slightly sexualized nude, utilizing bits and pieces of the underlying marks and forms. It is only fitting, I think, to honor this injured basketball player, who has had surgery on his leg and will be out the rest of the season. Baseball and sex are the usual analogies, but I’m throwing up a three pointer and lets see if it misses. This is a work in progress.
Yesterday Toni Tiller posted about the show Its a Small, Small World, also called Cluster Fluck, an open show at Family Business, a 10′ x 12′ foot space curated by a very funny Hennessy Youngman. Entertaining art happening. There may have been maybe 100 artists represented; here’s the little piece I had in it. It was in a good spot. On the other hand, when you’re talking about 120 square feet, any spot is a good spot.
Drunken Silenus, ink and graphite on paper, 11 x 8
Below is a recent Monotype reworked with oil.
April, oil paint into monotype on paper, 24″ x 18″
Sometime last year I had a conversation with Jean Christensen, a collage artist whom I’ve befriended through an online art group and who lives and works in France, about the idea of a collaboration. I had pitched the idea to him just because I thought it would be a interesting exercise in managing decision-making within a control-variable situation. I’m a bit of a control freak as I think Jean is, although I believe we’re both generously diplomatic at the same time. But as he has suggested himself, he and I are quite different in our styles, tastes and history.
So he agreed to the idea and sent me a 10″ x 14″ hardwood board he had glued various cut paper to. Images of fish, food, mammals, rocks, etc. I worked oil paint into it and sent it back to France. He added more collaged bits and sent it back where I sat on it for a long, long time. I Had been trying to make it work abstractly but it wasn’t happening so I went in another direction and finished it. I think it works pretty well under the circumstances, formally and somehow as expression.
I suggested to him if we do this again, I’ll start the piece and he finish it. The artist to last work on a collaboration like this has the advantage of final say.
This is a mediocre photograph but I’ve included the first 3 stages of the process as well.
Tom Bennett & Jean Christensen, Collaboration, oil paint, collaged paper, varnish. glue on wood, 10″ x 14″
Below are the first 3 stages.
stage 1:

Stage 2:

Stage 3:

Living in NY requires money. I have little time to eat or breathe. I suppose I’ll have to learn to live on 4 hours of sleep to give myself enough space to paint and do my laundry. What ends up happening is I’m left with beginning projects that require blocks of time to conceptualize, think, sit and allow to grow. I don’t have those blocks. This is another piece that may very well ferment like so many others have over the past few months.
WIP: Limbs, oil on canvas, 31″ x 46″
I admit it. I’m a sweet junkie. I was brought up in an old school household with an Irish Catholic mother with a thing for chocolate and just about every other great sugar treat. Her mother had ancient recipes for a slew of desserts from fried donuts to tollhouse cookies, to brownies you want to shoot up in your veins. The tradition made it to my oldest sister Debbie, who had a passion for baking pies and cookies and cakes while I would assist, at the age of 5, by licking the mixing bowl of uncooked batter and butter frosting. Invariably it would be pasted all over my face and dungarees. Jeans were called that back in the 18th century.
I buy a chocolate cake and tell myself I’m ok with my high cholesterol and I store it in what I pretend are places my girlfriend can’t find and of course she finds it. It’s right there on the top shelf of the fridge or in the bread box with an electric arrow pointing at it. Cake is love. It’s sensual. So is sex. Therefore, cake is sex.
eat it.
Tom Bennett
Perfectly Good Cake, oil over monotype on paper, 18″ x 14″
My cat’s sick, my car’s in the garage, I’m doing commercial work and I’ve got several unfinished paintings in a state of mess in my studio, so I’m posting this simple direct mixed media sketch. My alma mater won at the Garden in OT, though, so that mitigates something. I think.
Folded Figure
India Ink, benzine ink and graphite on paper, 11 x 17
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″
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″
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″