You’re Funny: Notes found jotted within pages of my pocket sketch pad.

Many bars in Paris still do not have televisions blaring from every free bit of wall space, luckily. I found myself, briefly in one of the few which did. Ironically, I was not even in the mood for a drink but to use the restroom. My personal sense of etiquette though, I ordered a drink.

The man on the stool next to me asked me about my accent.

“Sud Africain?”

“No.”

“Americaine?”

“Oui.”

With a thumb he points at the television, the thumb being chosen as it was a second class citizen to the index finger and all such displayed vulgarity was worth.

“What’s television like stateside?”

“We have one channel that shows twelve hours a day of either Seinfeld or Friends, NCIS and Law and Order are always on at least two channels in six hour blocks and most channels, when they have time to fill will throw up either one of the fast & Furious movies or Avengers Endgame.”

He could not picture what I was saying and only half understood. Part of him suspected I was having fun at his expense while another part thought perhaps I had devolved into some form of gibberish. He insisted on buying me a drink as to get me to lapse back into the silence of strangers, while in the background a dubbed in French episode of the Mentalist came on. With a weary smile, the bartender pushed a small bowl of stale pretzels towards us as he went searching for either the bottle or remote.

//

Jim Morrison wanted to give up the rock star thing and become a full time author/poet. Many people pointed to his lyrics, citing those as evidence that he was pretty much already a poet. Jim Morrison is like Baudelaire or , as he was rebellious and died young, Rimbaud. Jim Morrison is like Rimbaud, unless you have read Rimbaud.

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Even in North America, if one lives in the heart of a major city, eventually many strangers will see your private moments. Padding across a room naked, scratching or one of a million other things we all do. What separates us from beasts (usually, but slowly devolving to a 50-50 split) is the knowledge not to do these things in public.

You can have a bathrobe at the ready etc, reminding yourself every time you get up, who knows how many eyes are watching. Eventually though, all city dwellers become desensitized.

Paris is special in that even the smaller, cheaper apartments have the French windows or if not in this style, oddly shaped or strangely positioned. The way the buildings are piled up, at night I have many tiny illuminated in old- halogen- gold stage sets. You see people going about their lives, the erotic, the mundane, sometimes the poetic.

Like the time I watched a man building a model boat. He was skinny, bespeckled with sockless chuck Taylor sneakers, never a shirt and always some kind of sweat pants. No matter what music I put on, that season was mainly Chopin, it seemed to perfectly sync up with the scene he was acting out. Once the tiny ship was built, I never again saw his square of light against the dark silhouette of the building.

Being a demi Parisian, I know that I have had my time in being on the menu for the night’s programming. There he is, in bed pen dancing pirouettes upon the paper, book in hand he never falls asleep reading but snaps light off at proper end of chapter. Two corners of the bedsheets in hand, he is snapping them in the air with the flourish of a bullfighter before allowing them to float back down upon the mattress.

An interesting thing, during the day, it’s hard to tell what windows you had seen into at night.

I have always said that you can tell how great a city is by its relationship with cats. The best cities have plenty of cats to be seen in windows and walking along the streets.

My studio, when seated at my table a window two floors below mine and across is a fat cat I’ve named Porthos for his girth. Should I ever meet the owners and they introduce me, giving a different name, I will tell them that they are wrong.

One day as I was getting ready go to work, Porthos wasn’t in his usual spot but peripherally my eyes saw movement from a different apartments’.

There were two little kids in pajamas playing. I am horrible at knowing how old children are, a boy and girl maybe eight-ish. I thought it odd they weren’t dressed yet. Maybe they were tourists having arrived from far away, their internal clocks had not yet normalized.

Over the next few weeks, whenever I happen to glance by that window, the two kids still in pajamas, playing. It was weird because Paris has so many parks. You actually see children with their peers, with their parents, playing ping ping, chess and the Luxembourg Gardens has a large center fountain where you can rent a tiny toy sailboat by the hour. Yet this pair always seemed to be in that room.

After three weeks there was one change, a large tipi, but it was made of plastic, sort of Fisher Price(y). It gave them an unsettling Thirteen Ghosts aesthetic.

Once the sun went down that window never lit up and now I am pretty sure those two kids are ghosts.

(all pics by me)

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One of the things I have always treasure about Paris is how much great art is to be had just walking in the parks. There are some beautiful Giacometti’s, works by not as well know artist but beautiful none the less. Ages ago I used to go on Sundays to the Cantor Center at Stanford. They had a giant de kooning bronze. Rare because he did not really do too much sculpture, especially at that size.

Right as I found myself really getting into his work, the sculpture was gone. It ended up in the Jardin Tuileries across from one my favorite Parisian bookstores.

Art aside, the parks are a treat. Delacroix, even when older and famous would regularly still go the the Jardin des Plantes to sketch. The Luxembourg Gardens is large and has many paths laid out with different feels to them. Found among all these paths and trails are all types of statues, flowers, flowerbeds and plaques.

Many of my friends are in the service industry, restauranters or bartenders. General consensus is that the two worst nations exporting tourists are the English and then Americans. England should not feel too bad though ,as most of the worst America has to offer proudly have no passports.

Any place in which Spanish is spoken, the English merely add an “O” to the word and say it several times louder as if this were a spell transmogrifying it into Spanish. For French they add a “Le” and roll their tongue a bit like Johnny rotten at the mic in a huff.

I was walking the ‘Luxe. There is a moving, large statue in remembrance of the holocaust with, in case one couldn’t figure out what was going on, a plaque at its base.

I watched a group of American girls in athleisure wear, with central pony tails clamber to the base of the statue, all turn semi sideways to face camera, in what many articles have said is ideal positioning, while making phony gang signs and letting mixed drink coated tongues stick from the corners of their mouths until the snap of the camera.

This is a direct effect of what we get when we try to get rid of unpleasant things from history books. This is how people act when there is zero empathy because they do not know from anything other than what has directly impacted their lives.

FINI

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Cinefield® Metal Waves

I had been about a quarter of the way through a full sized Cinefield® when my computer gave up the ghost. This meant I couldn’t use my printer, needed for components. I Switched to doing a painting. The computer I ordered taking it’s time to get to me. I missed doing Cinefield® work

I decided to use my pocket printer and do a smaller piece. Having the luxury of no deadline and no expectations of a collector, I decided to try some new things:

I inserted an In the Eights figure into the work (female figure for those not familiar with my 8’s project)

The pictures are printed on thicker, instant film like paper. When I initially was figuring out methodology with these materials, I used my regular adhesive. If that comes in contact with picture side of the film, it immediately clouds it. I Switched to glue sticks. Problem with that was that it secures the pieces only temporarily. Often times I would lay a piece down only to have a different piece fly off. For this piece I used regular adhesive, applied with a tiny brush as to control it. The tricky part was that I had to lay each piece exactly where it was meant to go because of the adhesive. A piece lain wrong I might be able to pick up but then adhesive had touched other parts.

The nature of pocket printer pieces is they are thicker and rigid so it’s an impossibility to get the pieces flat and flush. The visible seams/edge are part of the look.

The piece is 4×4 inches. All the photos are by me except the female photo which was done for me. The clock image is from photo I took of Orsay Museum clock in Paris.

Paris Painter part 1

Finally able to get back to my Paris studio. In general I’m always tweeking my road gear. Post pandemic, I’ve done some shorter trips but nothing with logistics of returning to Europe. I had no idea what to expect of others in regards to behavior while en route. With this in mind the lighter I could make my bags the better.

I have a great new notebook. It’s refillable and utilizes the disc system. What’s different about it is that the discs are inside the cover, so I can put it in my pocket. I bought a cutter which allows me to refill it with any paper I choose. I saved space by creating good sized pad comprised of watercolor paper, regular sketch and tan multi media.

I have several great arts stores around me so I will eventually get normal sized paper too. This is my first painting. 4×4.

While getting here, there were times of great crowds of people but thats nothing new for international travel. I didn’t find the vibe any different than normal. Regardless of rules, many people masked up. As the tips of the plane’s wings sliced off the edges of Grey silver clouds, I mused to myself. Masks.For me,it’s not about political affiliations, what happened to the concept of sometimes having to do a thing you don’t want to. That’s called being an adult. Truly, your life has not been too bad if having to mask up is the worst thing that has ever happened to you.

Lyra Three

I am now still playing catch up with all the things I had put on hold for a year plus. I am very fortunate that none of it was extremely pressing. Dentist, roofers and a small parade of other things kept me from starting a painting or Cinefield®. I have slowly whittled the list down and started a new Cinefield®. These are labor intensive and so between the two things, it occurred to me I have not posted in awhile. While my studio is being taken over by sheets of tiny cut out images, i can not paint but I can still draw.

When i do short trips i do not bring my painting equipment with me, opting to just draw instead. Sometimes on longer trips even with my painting equipment at hand the weather conspires against me with rain or dark skies. By complete happenstance I discovered Lyra water soluble graphite sticks. I instantly got into this medium. It allows for painterly effects. I have a travel brush which folds into a tiny tube and this accompanying one of the graphite sticks which are size of fat crayon, now allows me to do monochromatic paintings on even short trips. The added bonus for me is that aside from how compact it is, I can use this medium at night (which I cant with regular paints) and in bad weather.

The expressionistic qualities of this medium greatly appeals to me and conveying emotion in only one color makes it that munch “easier” when utilizing a full palette.

I am already pleased with what I can do but am sure that down the line I will get even better.

All Night Music &Dance

For my last collage the emphasis was just on doing something lush & beautiful. With this one I wanted to return to my often achieved effect of an open ended narrative. I also have in mind the desire to collage when on the road. With my density achieved via so many small components the amount of time it takes to do the piece would mean that on a shorter trip I would only (if even) be able to do a collage and not also paintings, sculptures et al.

Right now I have two styles of collage. I have mainly been doing my denser mosaic style. The other style incorporates larger pieces and I achieve the density I prefer in my works via distortions of lines and parts. This style is perfect for on the road, while the challenge of getting my preferred density will keep me away from mere mannerisms.

As is always the case with my collages, there is no digital magic. I use my trusty scissors and adhesive applied with brush to photos which I personally took.

“All Night Music & Dance” 11×14

Nocturne

Everyone’s phone now gives them the ability to take great photos & movies. This is a blessing and a curse. It is nice to capture something, especially when on the road that one wants to show friends. The downside to this is, go to any big city in Europe and you see tourists so busy hunting the perfect instagram shot that they are not actually there in the moment. Ambient sights, sounds and smells are  not absorbed into memory. The old adage that “travel broadens the mind” is a sort of shorthand for being open to experiences and impressions so that they add to you and become part of you. I’ve seen some lovely shots of Paris on friend’s social media sites but when asked about their travels, they can not convey anything aside from the day of their trip they were at the local.

This is not recent news though. Another less apparent negative effect is that, with the ability to snap a photo of anyone, hundreds of photos of a night out with new friends, people under a certain age have forgotten or never learned how to look at a painting.

The relationship between painter and model/subject is not supposed to be one of exacting reportage. Ideally, it is as if the painter is describing the model but using their own words. Words in this case being the painter’s style. Because of the ability to document in photos, a person, people want an exacting reproduction all done in hyper realism. (like their phone photos)

When Matisse painted a woman reclining on a couch, you knew her foot was her foot but you would never dream of doing an  anatomical study from it. Largely, people do not want to see a painting which looks like a painting, where brush strokes are evident as is the artist’s hand. With my recent foray into social media, i have met some wonderful painters who are held back by trying to make their work look too real, too exacting and so stillborn. “Painterly” aesthetics is currently not as appealing to the masses as overly processed and perfected type thing which could be a glossy Haute couture ad.

Some museums during shelter in place have been offering free virtual tours. In a recent New Yorker column, Peter Schjeldahl, one of the finest living authors on art, suggested that viewing art online was not great. He drew the ire of many. There is though a huge difference between seeing an image of a work and actually being there. The digital image, even when shot in high definition still has factors which effect its appearance and impact such as the aspects of the device one is looking on. And the reality of looking at photos of paintings online, more often than not there will not be a sense of communion since chances are one has the television on or other distractions, the myth of multi-tasking. If one goes to a museum, instagram moment hunting aside, ostensibly you are there to experience art and nothing else. There is just an indescribable aspect to being in a building, in the same room as a work with it in front of you and others around you. There is not a “feeling” seeing it flattened out on a device’s screen. It gives the gist of a piece at best, it is akin to hearing a recorded voice not the voice speaking in the same space as you.

I get great pleasure in portraying human flesh in my works. How i do it is not a matter of degree of chops but intentional. It’s painterly and expressionistic. To do close up parts, it almost borders at times on abstraction. I have done pieces, close ups, where there is not the guide-indication of an eye or finger to tell of a body. It is even more abstract yet there is something fleshy about it. I feel very fortunate to be able to work the magic the makes a white square seem as if it has volume & mass, heat of blood flowing just below the skin.

Nocturne Watercolor & Paper 5×8 inches

nocturne