After getting all jazzed up last week about the new materials and all that color and pattern oh how exciting because boy don’t I love new challenges, went upstairs, spread everything out, and picked…
that.
It’s so boring. And if you add a swipe of teal in there it becomes the exact same color scheme as the Ramada Inn circa 1984. I think I must have been terrified when I was looking down at everything, all those pieces, 87 total, and just selected the colors that were safest to me. On the other had there were some successful elements, it was another clarification of how the white thread changes and pulls together the designs, and the actual sewing of the shapes came much ore easily. Not sure if it is worth finishing though.
But of course that was the point, right? Previous efforts in this collab have been in my color/pattern safety area, nice and neutral. Puzzling this one out was fun, working hard to keep the chaos of the free shaped forms in some harmony with the rigidness of the lines, fearing muddled results otherwise.
I don’t usually use these colors, or stripes either, and that two pages were so similar in color made an easy choice to flip one horizontally to give the forms some definition against each other. The opposite approach seemed fitting to handle the black and white, syncing up the lines where possible so vertical structure could be created,but none of it was working until the stitching was added, giving the eye just enough of a break to navigate it all.
I think.
I mean I hope. Did it sound like I knew what I was talking about up there?
That was an honest reflection of the decisions that went into it, but it’s all new, new materials, new techniques, so it’s still pretty mysterious. But I want to make more, so I figure it must be the right track.
By the way, the title came from a random thing on the bottom of my computer, but it seemed to fitting, so I followed instructions.
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.
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″
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.
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.
I may have an opportunity to show some of my masking tape pieces in the future. This weekend, I decided to prop a few up with some quick editing to make them a little more display ready. These are the results:
I finally finished the Baudelaire related project I’ve been toiling at the last few weeks last night. I’m not quite ready to post the final images of it though, so here’s just an example of the type of crap I’ve put myself through with it.
This is a crappy stencil of one of the poem’s passages. It’s hard to read, but that’s not it’s only problem.
The other problem is that “Discontended” is misspelled. I made 10 of these stencils before realizing that. So I then had to create a new stencil just with the corrected spelling. I through in a few “redeems” because that was the hardest word to read throughout most of the stencils.
I ended up cutting everything apart and sewing the corrected pieces together, but now I have a pile of 20 misspelled “Discondendeds” that I have to find something to do with.
Last night instead of preparing art for today I ironed shirts. I have no regrets, but I also have nothing to post. I don’t know if I’ve ever posted this before.
“Woven Watercolor Cross” 2005 It’s like 30″ wide or something. Watercolor soaked through canvas, woven.
This is a woven piece made out of a dropcloth that I used a lot of watercolor on. I then flipped the dropcloth, where you could see where the watercolor soaked through. Toni hates me for this because it’s so light sensitive I won’t allow it out of my closet.
Finally getting these to where I can spell words. However, these are actually the only letters I have enough of to do so. This will be the background for a stencil to be added hopefully this weekend.
Clearly legibility isn’t this style’s strong suit, but I can live with it for a repeated phrase like this. If I ever do longer texts it’s something I’ll have to manage. Perfect for ransom notes though.
On average, the New Years weekend is probably my most productive of any time of the year. Decembers are usually spent finalizing Christmas gifts and rushing around trying to finish a variety of things. Then the Holidays come and I’m usually separated from the studio for about a week. By the time New Years comes, I am alone in my apartment without any near term responsibilities and all I want to do is play. Around this time last year I had just bought a new Sewing Machine and was experimenting with the form of quilt I played with all year.
This weekend may have been the most productive of my life. I started playing with stencils, and different colors of paint. Because these hues are ridiculously expensive, I started diluting them and creating my own mixtures. The result of these 2 things was a weekend of painting or preparing to paint (making stencils/mixing paint) near non-stop. I learned a lot in these 3 days, but may have to force myself to slow down to prevent burning myself out.
What I didn’t do much of was document what I was doing. So for now you’ll have to trust me and accept these 2 stencils of a passage from a poem by Baudelaire that I am working with to become accustomed with text:
(This one got cur off in the rush to scan it at midnight last night. Apologies.)
Every year I have the opportunity to run away to the middle of no where, take a break from daily life, weekly blogging, and any art making at all. I love making art but I love my sanctioned break from it just as much, there is a relief to being able to put it all aside and not feel it hanging over your head. That time ends up being useful to reflect and consider the previous years efforts and loosely plan what might come next.
This year I had some time to work with JD Hastings, where we thought about ways to team up using my marks and his quilting. One of the things we tried was using some of his pre-painted sheets and layering the same design repeatedly. It’s not something I can do with my usual materials because of the thinness of magazine paper, but the thickness of the painted paper means I can trace and reuse the same squiggle as many times as we like. He took over the color choices in these while I took care of the mark making and cutting. The enduring challenge in working on these came in the form of a very numb index finger, a consequence of the pressure applied to get through the materials. It took 3 days to wear off.
This last week I’ve been collaborating with co-Darteboardist Toni to combine some of my collage methods with her collage forms. Here’s a couple results. These are still very early in the process, but I think they have promise.
A similar, second version of this couldn’t be finished on time. We decided this is good enough, but the color choices obscure the form. Fortunately, you can see the form better in this smaller experiment with collaged fabric:
Here is the initial design (shifted into stark black on white):
Before starting these I had been having trouble getting started with these types of quilts. For a few weeks I’d had several false starts, or completely partial pieces that I wasn’t comfortable using on their own. Finally one night I began idly working the green part of this piece:
Each piece is 26″ x 26″, acrylic and paper collage quilted together.
I actually got a good 18″ x 18″ of it done. The next night I realized it was too green, as I mentioned last week, but the process had put me back in the flow of the process. The form in these is one I’d been meaning to return to. What followed was a relatively rapid process of completing the 3 pieces, cutting them up Friday night and finishing them Saturday.
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.
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