A lot of things in the world of painting which are now common were inspired by a pragmatism. The impressionists often painted in pleine air because it was easier than dealing with the types of studios which they could afford. They used each other and friends, family and lovers as subjects since this would be less expensive than using professional models.
The painter doing self-portraits also came about from such considerations. Occasionally, it does have an aspect of symbolism, the painter proclaiming themselves as such, pledging a lifetime of serving the process.
My oeuvre contains many self-portraits. Sometimes just a body part. at others times my mug. There is no symbolism in this. Either I had some paint left in palettes or I wanted to get to work without dealing with anyone else. Initially, there was a time & money pragmaticism for the subjects of my portraits. Now I prefer to use the people from my inner circle since we have an established trust where they offer up an emotional honesty rather than anything which would be too academic or glam.
My mission is to offer up emotional honesty in my work since truth is beauty. The portrayal of myself, warts and all and of flesh in general is a major part of my lexicon.
Linguine my ever present Talen Art Creations Multi Media pocket Pad 4×4 inches
There was an article recently about the two most influential modern artists. It got me thinking about the nature of art’s current influence. Art has become specialized. People still flock to museums but the casual viewer is there because of the totem they have made of any given artist, the mythos as it applies to them.
Picasso was important to his peers because of how he freed them up to pursue their own North Stars. The appeal now? He has become a sort of shorthand for being able to do whatever you want, seemingly effortlessly and make money, scribble on a napkin to pay for a roomful of people’s dinner at a four star restaurant, grab a collector/gallerist or peer’s wife by the breast and have everyone laugh and clap. It holds great appeal for people who aspire to become famous from nothing more than becoming an influencer or reality television star.
Picasso was an ass for sure. But credit where credit is due, he spent the majority of his day working in front of an easel and when not directly applying brush to canvas it was one of the things foremost on his mind.
People now admire Picasso not for what he did, nor what he freed up in others but because in their minds he was sort of proto reality start/influencer. They think of all they could do if they could be Picasso-like, not realizing that you can’t wish to be sui generis and still live the life you live now as you live it. That is the wish though and artists have become a totem divorced from what their reality was.
Painting has suffered the same divorce from reality. People have grown used to looking at art online often the artist’s hand/brushstroke is not as apparent and sometimes digitally smoothed out. A.I has made it worse, images made to look “real” quoting if not outright reproducing famous paintings & images do not even attempt to appear made by human hands.
These factors combined with the fact that everyone has a cellphone with which to photograph the minutia of their lives and how to look at and enjoy a painting is forgotten.
The casual viewer does not want to see the artist’s hand, they want machine like perfection as seen on their screens or phones. A painting is judged “good” now by how close to hyper realism it is. If a painting of a face can’t be mistaken for a photo then it is not good. (to me 99% of the hyper realism stuff is all technique and no soul. You forget it a soon as it it not in front of your face).
The only exception to all this seems to be some of the well known paintings, Van Gough, Monet’s waterlilies et al. With those though appeal is artificial story the viewer has told that they insert themselves into.
I was at a museum in Paris looking at one of these well known paintings and a twenty something woman stood next to me with the corners of her mouth turned down. I had to ask what was wrong. She showed me the image of the painting we stood before on her phone. She looked down at it then up. She showed me the image on the phone then waved her hand as if swatting away an insect at the painting;
“What’s all that?”
It was the impasto strokes of the brush on canvas.
For my works, I want my pieces to look like the subject but to also capture the truth of the moment before me. I am not afraid for a painting or drawing to look like painting or drawing. This is simple but important advice I would give any painter.
Spaghetti Night 9×12 inches Rembrandt cold pressed fine grain
Tongue my ever present Talen Art Creations Multi Media pocket Pad 4×4 inches
As I continue to edit my novel I have been able to go back to painting. As has always been the case, I like to mix it up a little as to avoid stagnation. This is achieved by giving myself little challenges, different types and sizes of paper and in this case for the second and third painting, only using paint left in the palettes.
Myself 5×8 cold pressed watercolor paper with my normal studio paint set up
Truth or Dare I used my ever present Talen Art Creations Multi Media pocket Pad 4×4 inches
Sandy I used my ever present Talen Art Creations Multi Media pocket Pad 4×4 inches
After much hard work I finally finished my latest Cinefield® Pensees de lumiere. While I still enjoy my past pieces, I do feel that with every one they seem to get better and better. For each piece I have a different mission. With this one I sought to make it my most rhythmically complex. For the viewer, I offer the gift of every time it is looked at new things will be noticed.
I started each session listening to specific things which in my head were in line with the piece’s density and rythmic complexity. (when one of these initial first albums ended I would vary my listening to things not on the list depending upon my mood)
Miles Davis Nefertiti
Stravinsky conducts Stravinsky boxed set
Debussy Pelleas et Melisande
The late piano works of Morton Feldman
DJ Cam Underground Vibes 30th Anniversary Edition
The way I always work for the creations of my work in this genre: I go on a photo safari. I look for a photo or two that I intuitively know will be the raw material for the Cinefield®. For any given piece I do not use more than one or two images. For this one, it was a single image. I print up a few times. Using tiny scissors I cut out equally tiny pieces from the image.
Always beforehand I have a general idea of what the piece will look like, the overall design. On a piece of heavy tan 11×17 paper I freehand draw the design. Then begins the slow task of using adhesive with a brush to the pieces which i glue down.
Not to brag (really): The design is thought out, but what piece goes where is a completely non-stop improvisation. One piece will dictate what next goes down but there is no way to prearrange anything and so every laying down is decided in that moment. Because of this I do not work top to bottom, left to right. The muscle memory for just being able lay pieces down and the fact that when cutting pieces, it’s completely abstract, is a feat. With the cutting out, it is not as if there are stated objects or shapes i.e “cut out all the circular shapes, cut out all the short buildings” etc etc. The size of each piece varies, but non would be described as larger than small. Once I am well into creating, at any given time there are multiple sheets of cut out shapes ready.
I use no digital wizardry for these and I lament the fact that in North America people are giving equal value to what is essential machine made images that a person fed some parameters to.
Pensees de lumiere 11×17 inches. (C) 2026 Wayne Wolfson not for use w/out permission
single piece (o the larger side for this!)
To Own a Cinefield® Print:
Every major city, especially in the warmer months has weekend Art & Wine Festivals. It is sort of like a farmer’s market but with kiosks of photos and etsy style nick-nacks.
Some of the photos are not bad but they are printed up by the hundreds and in multiple sizes. To buy one, if you like the image and would be happy to view it on your wall every day, that is fine. However, it is akin to buying a poster or mass produced print as can be found in World Plus Market, Pier One imports et al.
I have been selling prints of my Cinefield®. There is a difference though aside from the quality of print & frame. I am only printing up two copies and one is for my personal achieves. This is art, not mere decoration.
My site has the technical info. If you see a piece on my blog but it isn’t listed drop me a note as I have not had every single one pre-printed space being at a premium but would be happy to do so knowing one was going to a new home.
I am still in the midst of working on my Cinefield® and editing my novel. I have managed to work on my paintings, albeit in a very different way. As I do not have space on my painting table, I use my writing table. Since I can not have this taken over by paint palettes, I did one small thing which involved mixing only one color at a time (i.e base coat for hair, background et al) This way when I was done with the session, I could set the painting aside and not be unable to use my table. Most importantly, I was not wasting paint either.
In creating my Cinefield® works, butcher paper is rolled out onto my painting table to protect it from the glue. Every few days I have to change the paper as snow drifts of dried glue accumulate. On the days that I did this, before laying down more paper I took the morning off from Cini work and did the parts for the paintings where I had to have full palettes of paint (the skin, creating volume and mass for the flesh).
It has always been important to me to have a discernable style while avoiding lapsing into mere mannerisms. To prevent this, I present myself with challenges to keep things fresh.
Neck is 5×8 White Canson Paper. It handles very different from all the papers I have been using for a while and is also a different size. I enjoyed the challenge and was pleased with the results.
Flapper I used my ever present Talen Art Creations Multi Media pocket Pad 4×4 inches
I am in the middle of two bigger projects, editing my novel & my latest Cinefield®. I do not have studio space to do full sized paintings. In the interim I am doing pocket pad pieces which allow me to pint without leaving palettes of paint out.
The methodology of this is different than how I usually paint and I enjoy the challange.
Stacy Says Watercolor & Talen Art Creations Multi Media pocket Pad 4×4 inches
I want a discernable style but to avoid ever lapsing into mere mannerisms. To prevent this while also growing my chops, I constantly mix things up. I use different styles of paper, various pencils.
It had been a while since I used tan multi-media paper. For this piece I returned to it but in a smaller size.
Much like the motivation behind using pencil extenders, deep affection for serving the process, I enjoy the challenge of doing a smaller piece with whatever paint remains in my palettes.
Verse One Watercolor & Talen Art Creations Multi Media pocket Pad 4×4 inches
Verse Two Tan Multi-Media Paper 9×12
Always looking for interesting people to draw, email for details
Duke Ellington famously said that there are only two types of music, good and bad. Now more than any other time it is easy to explore. This is a freedom more should take advantage of as there could be something out there waiting for you that is currently lazily being written off as “Nah not my thing” .
Although seemingly far removed from what people know as my musical taste, i do enjoy Robin Trower. He mixes virtuosity with an emotional cadence. While this is not the first thing I reach for nor remotely indictive of my taste, when in the mood it hits the spot.
I used my at home watercolor set up & Talen Art Creations Multi Media pocket Pad 4×4 inches
Always looking for subjects to draw paint, email me for details
My first painting of 2026. It is 9×12 Rembrandt Cotton Paper, cold pressed. For paints, I used my studio set up which is a mix of companies, all professional grade.
I am always looking for people to draw/paint. I get my share of unsolicited submissions. More important to me than “beauty” or the typical idea/portrayal of it is an emotional honesty. That allows me to convey emotions that will keep the finished work interesting in the audience’s mind, long after the viewing of it is done. It is odd when I receive photos of people in traditional academic poses or overly glammed out ones. For the academic poses, it is how one is “supposed to” learn to draw bodies & anatomy. It is a sort of trap since it is establishing a foundation within the artist which will lend an air of be stilted or overly academic in future works.
The impressionists were revolutionary not merely because of their use of colors and effects of ambient shadow and light. An equal important aspect was that they were among the first to eschew having the subject matter be historic/biblical/mythic. Instead they painted one another or friends and denizens of their neighborhood going about their daily lives. (Courbet and Millet were proto impressionists )
The lives which they conveyed when viewed now sometimes seems of another world but the canvas still radiates emotions, the beauty is not trapped under museum glass. It is because it all comes from real experiences and emotions.
For both artist and model, do what is real and the truth for you. I am fortunate to have an inner circle that trusts me and whom I have painted for years. They trust me enough to not merely give me their idealized version of themselves. I have always said that truth is beauty. This is part of an overall technique which is how I work and that many painters have utilized:
Everything for an artist is impressions which is then transmuted into expression via the work.
Paper Life Painting 