soon art making will return
taken with everyone’s favorite new “enemy” …. instagram
soon art making will return
taken with everyone’s favorite new “enemy” …. instagram

acrylic on panel
24 x 24 inches
Well, I flipped it upside down, and it might be done. The jury is still out. Do I want to leave it soft and chewy? Or do I want a crunchy cookie? Depends on the mood, and I am nothing if not moody. Whaddaya think, Fini or get back to work?
In a timeout,
-Steph
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.
My experiments with masking tape have taken on a life of their own. While these started as a way to avoid wasting paint while making paintings to sew together, these have gradually become something of a focus in their own right.I’ve been posting them daily at my Tumblr site, and currently still have 47 queued up to post, with many more likely to added.
These have become exercises in color for me. There are obvious elements of form in the dots, checker boxes or occasional letters, but most of the composition remains linear. The main differences between different sheets come from the color schemes.
While I control these to an extent in deciding what to paint when, there’s also a lot of chance involved. I may be working on 3 different quilts requiring 3 completely different types of color and pattern, but the tape used for each of them winds up together. The results may be a fairly tight scheme (top) or something more unexpectedly diverse (2nd piece down).
Sometimes pieces take a week or two to fill out, leading to unexpected combinations, like the above, which has pieces of 21 different paintings in it, I think. It’s a very useful tool for trying out these new color combinations quickly, without much risk, and will help me plan more detailed works in the future.
I’ll post several more below. Read more »

acrylic on panel
24 x 24 inches
Here’s the most current pic I have of this work in progress. It’s the same one I posted last week. And below is an earlier stage.
Alrighty, I have to return some video tapes. TTYL.
-Steph

Here’s a work in progress. Below is an earlier version I posted a week or two ago. Painting is going pretty well right now. I sometimes wonder why I ever leave the studio. Not much else seems worth the bother. My cat just entered the room, shot me a perfunctory stare, then laid down in his own personal sunbeam. He knows what’s up.

Whatever you require,
-Steph
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″
We thought it would be fun to do this.
While I was out in California visiting Mr. Hastings we started experimenting with combining our styles. He chose the colors, I did the drawing, and then we stitched it all together. The intention was to make three, but in the end only had time to make one, and because I liked the result so much I was hesitant to submit it to the show having been warned of the high probability of damage. A conversation or two later I put those reservations aside, remembering that it’s only art, if it gets ruined we’ll just make more.
The opening was last night, and it was the most astonishing art even I have ever attended, I’m pretty sure all of Williamsburg showed up. There were costumes, Indian food, a temporary tattoo station and a lot of atrocious fashion. My favorite part was watching some girl walk face first into a piece of paper covered in dried semen, and rather than acknowledge what it was she just threw it on the ground to be stomped by everyone bunching up in the rear. Can’t say that I blame her.
I waited for our Mr. Bennett, who also submitted a piece for the show, and then tried to squeeze my way in (this is one of those instances where being a small person is beneficial) which after a half an hour of wiggling I finally managed to do. The gallery is the size of a walk in closet with every available surface covered in work ranging from good to godawful. I found ours instantly, and was pleasantly surprised to see that we actually got a good spot, low enough to be well seen, high enough to not get damaged, took my photo and got the fuck out.
Just in time too, because not long after we left the whole scene turned into this.

photo credit @spankandblank
And if you’d like to know a little more about the man behind all this, Jayson Musson, a.k.a Hennessey Youngman, a.k.a The Pharaoh Hennessey, a.k.a The Pedagogic Pimp, check out this interview with him here.
“Dropcloth with Square 2012″ 48″ x 60″
This is big. To photograph it in a single frame I had to back up as far as was possible in my apartment leaving room so I could actually check to see that it did, actually fit in the frame. Getting something approximating even lighting was it’s own issue, and perfect focus? Well, just don’t click on the original.
This served as my dropcloth for months. I painted hundreds of smaller canvases and sheets of paper upon it. I used masking tape to get the effect of the squares, so there are 4 layers atop one another here.
Detail:

Apologize for the poor focus. My favorite parts are where snippets of pattern remain from leftover pieces of canvases painted on this. Remind me that when I’m working on my next dropcloth.
-JD

Above is a closeup of what’s happening with one of the pieces I posted last weekend. Below is another work in progress. It’s another of the two foot square panels.
Yep. That’s what I’ve got going on.
-Steph
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:

… to be in my life. I’ve been working all week (hence no art making) in the city of Phoenix. my take away is how heartbreaking the amount of homeless are here maybe it’s where I am in life, however, i can’t help thinking “it’s simply one step in a different direction and it could be me”. the women and men I’ve seen this trip … heartbreaking … so next time I bitch about not having enough studio time, I’ll think back to this day and quietly know how effing lucky I am
photo taken while walking the streets of phoenix

just primed panels drying in the sun
Don’t let the title of this post mislead you. I’m no math geek. I mean, I do think math is great. I love math geeks. It’s just that there is a ton of math I haven’t actually used since high school. As a result, there is much that I have forgotten. I’m still good at measuring and fractions because that’s handy for building things. But honestly, in the interest of creating a convoluted post title, I looked up the square root of eight today in lieu of even trying to figure it out.
Back to art! My very special pal built for me this week, eight fabulously-crafted two foot square panels. That’s him above alongside the panels with his blue ball and his blue yoga mat. Thank you, handsome, beardy Bodart! Each panel is cradled with one by twos which leaves a little room in the back for things like squishy foam and velvet or whatever else strikes my fancy once I start cutting into these suckers. I haven’t started any subtractive work yet, just additive. See a couple of works in progress below.

acrylic, spray paint and flocking fiber

acrylic
Happy painting, bitches!
-happy painting bitch Steph
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″