I am currently in the middle of finishing up a labor intensive full sized Cinefield®. My cover for the latest Funki Porcini album Where the Sauce is Deluxe has been as enthusiastically embraced as the album itself. I have received queries about whether the piece or prints of it are available for sale.
I am not ready to part with the original and my initial thought of prints of it made me worry of a loss of intensity, reducing down my work to becoming akin to something one would buy at IKEA et al.
I was presented with the idea of making one print only available to the public. this idea appealed to me as unlike with the current trend of NFTs, here was a work of art one could have and hold. Only doing one copy makes it so that one is not merely buying a slightly pricier, better quality poster.
Of course it would be nice for this piece to find a home but the other part of my motive for this posting is to save anyone with questions about the piece some time.
Here is all the pertinent information:
This piece was used as the album cover by Funki Porcini’s same-named album (2022).
All the images were from photos that I personally took. There was no digital magic/manipulation. I used the traditional technique of scissors & adhesive applied with a brush.
There will only be two prints of this made, one of which will remain uncirculated in my personal archives.
The technical specs are as follows:
– 24×30 inches Printed on Archival semi-matte photo paper 95 lb.
– Cold press mounted and Custom Framed with Museum Glass in a Black Metal Frame
My collage work in a very short amount of time became part of who I am. I lamented the fact that for longer trips/residencies I would not be able to do them. I began to investigate ways to perhaps make it happen.
The easiest thing would be to just use magazines/newspapers from wherever I was. This didn’t appeal to me as I have always prided myself on only using images from photos which I personally took. I researched pocket printers.
My Cinefield® are very time consuming and how to get the images aside, I had already had it in my head that were I able to do them on the road I would go far smaller as it would render a trip pointless were I to spend entire time alone in studio working on a piece. I also have other creative things that I want to do while on the road and the way my normal Cinefield® are made would have eliminated that possibility.
Another practical aspect of going smaller is that all the pocket printers I was finding seemed to utilize types of film. I did not want the raw materials to become cost prohibitive in constructing them.
For obvious reasons it was important that the photos not be laminated which eliminated many of the choices.
I found a device which literally fits in jacket pocket and feels solidly built. It connects to phone via blue-tooth which allows me to use any/all my own photos. The film is not exorbitantly priced although I will stick to my normal paper when not on the road.
My in general goal for doing pieces on road is small in size and utilizing no more than one packet of film per piece. Time wise, no more than two days working on it as this will allow me to also paint, write and absorb wherever I am in the world still.
The small size allows me to also do other things for the hour or so at a time that I am pressing a piece (basically laying heavy books atop it to get rid bubbles).
The film required a completely different touch and technique. In general I have only done several smaller pieces. Surprisingly, they are harder to do than normal size. There is less room to create rhythm/tension & release. What were already small piece often need to be made even smaller.
This is my first piece using the pocket printer. As always, it’s only images from photos which I took utilizing my trusty scissors and adhesive applied via brush.
It is 4×5 inches. surprisingly, it only took seven photos (the photos for pocket printer are about the size of a business card) I did it in two days. I was pleased with result and the fact that I pretty much met all the “rules” I had in mind.
The news is bleak. The internet is fertile grounds for scams masquerading as charities or people who want to help. A hero of mine, José Andrés has a charity whose goal is to feed those in need. It eschews any politics for the basic notion that you can change the world by feeding everybody. This charity is not solely concerned with the Ukraine, although they are boots on the ground there now. Over the past few years, wherever there have been natural disasters he and his colleagues could be found trying to help out via feeding those who are hungry for whatever the reason.
I recommend to all to at least take a look at their site as it’s worthwhile.
“You made me beautiful” she said upon seeing the finished piece.
It was, but I just painted what I saw. With all my portraiture I go for a sort of raw reportage. If I see it, it appears in the piece. I never airbrush out (so to speak) any imperfections nor do i exaggerate any by way of settling scores. To me, all truth is beauty.
I always want people to be able to return to a piece and see new things. This is why traditional beauty has always bored me. The little quirks and imperfections make it real, make it interesting. The organics of a piece is often helped by only using people I know as subject matter. The trust allows for natural body language and facial expressions. There are some great yet unknown painters out there whose work’s power is diminished by coming across as overly academic or all the cheesy glam poses. I don’t worry about the beauty aspect, but rather the realness.
This piece is 11×14 inches. Watercolor on brown paper.
The magic of the internet, artists no longer need face the prospect of spending a life in service of the process but with their oeuvre largely unseen. The flip side of this coin is that there are some artists who, without easy access to an audience would have to work harder and ultimately become better artists. It also has made artists seek not an audience but customers, their output reduced down to just another commodity.
I try to largely eschew promoting what I have for sale. A cursory look at my blog shows what a rare occurrence the promotion of things for sale is.
However, I am not anti commerce. Art is meant to be seen, to be read. I have a new collection which just came out. Succinctly, it’s beautiful, it’s heavy.
I draw every day, no matter where I am in the world. When on the road, at the very least I will do quick guerilla sketches and woodshedding in my ever present trusty pocket pad. Of late most of my formally done works switch off between Cinefield® and painting (during the execution of which I will still woodshed every night).
A new painting had been started but then it rained out every day with the forecast calling for the following week to be more of the same. I only use natural sunlight to paint by so this was not good for me. I put the painting aside and went on to start Cinefield® Where the Sauce is Deluxe. Between the weather and how labor intensive that piece was the painting sat untouched for four weeks, something I had never done before.
When I went back to work on it, it felt strange initially but I quickly found my rhythm. I am very pleased with the piece. Although I always end up over the course of working on a painting having to let it dry a day between coats. As matter of personal preference, I was not a fan of having a piece left untouched for that long a duration.
Throughout my oeuvre, emotion is my ultimate goal. I want the viewer to feel something. Music is my main source of inspiration regardless of subject matter or even medium.
I have pretty big ears, never restricting myself to one genre nor era.
Although I lean towards jazz & classical I do have some categorization defying things in heavy rotation too. Things like Kruder & Dorfmeister, Kina Rao and Funki Porcini.
Funki Porcini is an absolute favorite to whom I have listened to for years. His music encapsulates various moods. In lieu of one sonic voice ever present on every album which can lead to a feeling of heard one heard them all, he offers up instead, technique which he uses to great effect to create dense dreamlike works.
My Cinefield® vary, from cityscapes to floral explosions to abstracted colors and shapes. The commonality being their density and dreamlike quality.
I now have the pleasure of one of my Cinefield® being used as a cover for the forthcoming full length album by Funki Porcini. Both share the same title. As is always the case with my Cinefield®all the images I used were from photos which I personally took. There is no digital magic, just my trusty scissors, I applied adhesive with a brush. One difference in my methodology was in only listening to a specific soundtrack comprised of a pile of albums including the new one and a few other favorite of his as I worked. The piece is 11×14 inches.
I will put up details on where the album is available once its out.
Cinefield® – Where the Sauce is Deluxe 11×14
There is a special multi-night gig associated with this going on:
We will be doing the album launch with the Laserium at commonground in Coventry, four nights 28-31st January.
After finishing my last Cinefield® I started a painting. Weather conspired against me with heavy fog & rain. As they do not require same light situations, I switched to doing another Cinefield®. I wanted to make this one look painterly, a further evolution of chops & (artistic) mission.
It proved to be a labor intensive piece. At 11×14 it took me longer to do than some of my far larger pieces. As is always the case, I only used images from photos which I personally took, utilizing my trusty scissors and adhesive applied with a brush. There is no digital magic done after the fact. This is a personal favorite of mine, not just within my Cinefield® work but for my entire oeuvre.
Once again I tried to change things up a little. I used a heavy stock brown paper 11×14 inches landscape oriented.
Throughout my oeuvre I had done paintings of close up of body parts. The challenge of this to varying degree is that if one does a super close up of an arm or belly without the outline of limbs/silhouette, it’s not necessarily easy to know what as a viewer, one is seeing.
Without visual guidelines, it’s tougher to show volume & mass of a body. This is one of the challenges I enjoy. If I can make the viewer feel the curve of a part without showing the edge, then it’s “easy” when doing an entire body or section.
Another aspect of this which I enjoy is that even when really nailing the volume and mass effect of the skin, there’s a sort of abstract property to the piece. I like the concept of a viewer enjoying these types of works just for the colors and effects rather than the “Does it look like this person?” aspect which can occasionally be a distraction. This piece is not as tight a zoom as I sometimes do for this type of work.
Another Song About a Girl 11×14 Brown Paper & watercolor
Once again, I sought to challenge myself with my Cinefield® as to avoid lapsing into mere mannerism. As with my last piece, I went with a limited color palette, in this case one reminiscent of some of the submariner greens Degas used. I also stuck to sea changing via my cutting, only one image.
I was pleased with the results. As is the case with all my work, I only use images which I personally took the photo(s) of. There is never any digital magic as I utilize the traditional method of my trusty scissors and adhesive applied with a brush.
I had many balls in the air these past few weeks including my first smaller trip outside of the city. Slowly, I worked on a painting where I tried a few new things. I am pleased with the results. The camera i had gotten during the pandemic as to be able to properly capture my work ended up being more of a nemesis than help. Despite having done all kinds of research beforehand, it was only after the fact i found out how notoriously difficult that it was to use. I sucked it up and went for a consult, the store owner was helpful, not trying merely make a sale. I ended up with a Sonny which is amazingly easy to use and feels good in my hand too. This is first painting i have used it on.