
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

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:

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″
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″
.
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about 20 x 30 inches
oil and pastel on gessoed paper
More old work from long, long ago or about the same time as these.

about 30 x 20 inches
oil, nails and eggshells on gessoed paper
I’m still never quite sure where to put anything. And so, it just keeps piling up.
From a long way under,
-Steph
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″
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.
-JD
It’s been a long time since I have taken any photographs of people, and when I do they are usually people I know very well, but a recent interaction made me wonder what the fair use of pictures of strangers would be. I don’t take pictures for advertisements, or to sell, so it’s not something I ever really think much about but since the question came up I threw it out to my good friends on Twitter and Matthew Best was kind enough to provide me with this very useful article which answered all of my questions and then some. Looks like as long as I am in public and not invading a private space then I am in the clear.
In the mean time you should check out some of his work here. Good stuff.