I do not often paint large pieces. There’s a completely different physicality involved. The way I have always worked, when I see a piece in my head before starting out, included in this vision/conception is its size. If I envision it small, it’s not merely a matter of using larger paper to make it big. I can only make a thing as I saw it in my head.
With Victory I saw it big.
I enjoy the challenge of leaving my comfort zone. Most of my paintings are 11×17, this one would be 20×30. I have a large wooden easel. It has heavy brass machinery. I pull on a loop below the ledge upon which the canvas sits to raise or lower it on the wooden axis. There is a wooden crossbar on the bottom which connects the two front legs of the large tripod.
While painting the lower section of the piece, I sit on a stool leaning forward. My feet rest on the crossbar. It feels as if I am on a ship, brush in hand. Seas calm, seas stormy, call me Ishmael.
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.
“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.
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.
After a year plus of sheltering in place, one of the first things I did when at liberty to go out again was to restart taking walks. In finding a positive from a negative, the little things now all seemed fresh, new & beautiful. The palms, ferns and other tropical plants which grow up out of the sidewalks looked fantastic to my thirsty eye. The tiny architectural flourishes to be found on various older buildings previously unnoticed, now interesting and meriting a stop to look.
I am in no huge rush to go back to bars or even restaurants. It is my now twice daily walks which have made me once again start to feel among the living. I went to the local farmers market, half a second of apprehension from now finding myself among so many people again. The flower merchants with their plastic buckets offering sprays of color.
It is beauty not merely seen on my computer monitor nor emerging from the end of my hand onto paper that lets me know that I am returning to life.
This piece is 11×14. As always is the case, all the images are from photos I personally took ( in this instance from walks in park and farmers market). There is no digital magic, just my trusty scissors and adhesive applied with a brush.
I have specific pens, pencils etc that I use. Of course I constantly challenge myself by using lesser quality equipment, it makes using preferred stuff feel easy. As far as travel kits, i am forever tweaking that, the cases and holders all my equipment goes into. I always have three kits; the one for just bopping around the city. This is the smallest and its just a refillable pocket pad, retractable pencil and in the pocket sleeve of the pad a blender or two. This is used as I sit in cafe or bar locally, just doing quick guerilla sketching. As a side note, this is always within reach of my hand and has been around the world with me. I realized that because of the pandemic, it saw zero action for a year plus! It has sat in drawer of one of my tabourets awaiting its chance to see some action. My other kit is for short trips four days or less of being away from home. This is pocket pad, 5×8 pad few traditional pencils of different degrees of hardness and two types mechanical pencil & blenders. It’s still fairly compact, easily carried in book bag. Short trips, I do not bother bringing any painting accoutrements. My last kit is for longer trips week or more and this includes paints etc. The long trip kit is the one i tweak the most often as it’s important for me to work but very quickly space within a suitcase can be taken up.
I discovered during the pandemic a small company that made cases geared towards road warrior artists. The case was very flat and it came loaded with “free” pencils, erasers and all kinds of other sketching swag. Obviously I have not had chance try it out on road. I did try the pencils and sharpeners. All of it was of such low quality it got thrown out. It contained a small cellophane pouch inside of which was three short, pudgy graphite sticks. It reminded me almost of tailors chalk. I had never used it before, so decided try for hell of it. I enjoyed challenge of it and was actually pleased with pieces i did. My way of thinking was that if I could make something happen with low quality version, then using some made by a quality company would be even better. I started doing some research. One thing i found was that the Lyra graphite sticks were said to be basically the same thing, with benefit of being able to sharpen to a point where as the sticks were basically short rectangles.
I had bought one along with a sharpener ages ago but had not used it. I started messing around with it and found i really liked it, the pieces I did were loose and had a painterly effect. Lyra also makes water solvable ones. I bought one to try. It is a game changer for me. It fits in my pocket and all i need is that and one brush and I can do monochromatic watercolors. This will allow me to paint on short trips and not have to up the equipment i take. The actual process is quicker than my normal painting and best of all, I do not need sunlight and can actually do these at night. Two things not possible with my regular painting.
here are my first tries with it. I am sure that the more I do this, the better i will get but I am already pleased with results.
My In the Eights series has garnered an audience which I am pleased about. My one reservation, using found images to take my trusty scissors to, has become a non issue as people now volunteer to model. As it is an ongoing project, i am always open to new models. Email me for details.
They are meant to be beautiful but also slightly off putting. One part H.P Lovecraft and one part Impressionist painting.
As always, there is no digital magic, just trusty scissors and adhesive applied with a brush. roughly 3×5. Special thanks to model Beauty
I have started reading The William H Gass reader. Right out of the gate I found myself deeply enjoying it. One of the first essays is on books which were touchstones for his life as an author. Early on he makes a point of drawing a distinction, it is not supposed to be a “best books” list but rather ones which resonated personally for him and which served in his journey into becoming an author.
He mentions Flaubert’s Bouvard et Pécuchet. Of the trinity of Flaubert, Balzac and Zola I had always held him in the least esteem (with Zola being, in general, one of my favorite authors). Right before returning to France a few years ago I read the excellent bio on Cezanne by Alex Danchev. Cezanne talks so passionately about Flaubert, i felt the stirrings of considering giving him another try.
That season I kept meeting Helene and Charlie for drinks and book talk. Her admiration of the trio was the inverse of mine. Her description has stuck with me:
“With Balzac, it was all money, money, money if only I had the money. With Zola it was sex, i need power to get sex, I use sex to get money to get power to have sex. But Flaubert, there is an author, the sentences each meticulously crafted.”
I decided to give Flaubert another try. I went to Gagliani and bought Sentimental Education and Bouvard et Pécuchet. I read Sentimental first. It was good, i definitely had more appreciation for Flaubert than I used to. It was Bouvard though which sealed the deal for me. I found the book darkly funny in the way early Celine had been.
What is interesting to me is that when this book is discussed it’s merits are often described via a shorthand of being “funny” ala wacky Swiftian satire. I think people perceive it this way because it and Sentimental Education form perfect bookends. The later is more outwardly “dark”. I like it, but really it is just a romantic era story of squandered potential and the dried up promises of bygone youth. And, of course, the usual chess like romantic patterns of the main characters. Bouvard is actually a darker novel.
Gass has very much same assessment. His articulation spot on and obvious, but not until you have heard him say it.
I would never argue interpretation with someone on art unless they were 100% wrong. With my own work, unlike when I was first starting out, I rarely talk about it. Fascinating though that art can have completely differing interpretations. Is one person wrong or are they merely noticing and emphasizing in talking of it, a different aspect than someone else?
The pandemic has effected people in drastically different ways. I am not talking about how they directly handle it i.e wearing a mask, not wearing a mask et al. Rather, the sea-change that has come over people in regards to their personal philosophy. For some it served as grim reminder that life is fleeting so live while you can. For others, it has served to bring on a sort of cautious vigilance less something else unexpected further swat us down.
A type of cabin fever-life is too short bubbles up in many and temporarily dictates their actions. I find myself getting notes, photos, movies which when looking at, I keep this in mind.
One of the photos which I recently received had an interesting compositional point of balance. I decided to make a painting of it. As i worked on it, I found people all had different interpretations on it. “Hot” “Silly” “Weird” “Beautiful”. Like Bouvard, it has a little bit of everything in it. The main overriding intent is not for me to say as why would I want to make anyone wrong and temper their enjoyment.
I had been working on a large project and so knew doing a full scale Cinefield® was not possible. I get equal enjoyment from my ongoing “In the Eights” series. Their benefit being that they do not take up as much studio space and so I can do them at same time as something else.
For this series within the series, I had the pleasure of Kini Rao posing for me. She fully embraced my ethos of truth is beauty and her pieces are all the more stronger for it. No digital magic is used, just my trusty scissors and adhesive applied by brush. Each one is roughly 3×5
I am always considering new models for the series. If interested send me an email.
I have noticed lately that there are a lot of museum shows & installations “walk through a van Gough painting” type of things using projections and other tech. I am sure this will attract revenue. For anything which is lazy, bad or dare I say plebeian, there are intelligent people out there ready to supply articulation as to justify it. The gimmick as (art) museum show; “This will attract those who don’t usually go to museums.” It is not so much bringing culture to those who normally would not bother but rather a transmutation of it into something akin to the latest block buster movie.
The problem with this is that it makes the artist/work besides the point. It is spectacle as focus and not artist work/intent. The deeper problems with this, as it is many people can not stand in line to get their coffee without keeping their head bent down in their phones as to be blasted by digi-sensations as to distract them from their five minute wait. A Picasso-laser show type thing is further contributing to a complete lack of the public’s ability to “merely” stand and look at a work of art. All art regardless of era and medium has a component of contemplation to it. We are perhaps a few years away from people going to one of the great museums of the world, standing in front of an immortal piece; a Renoir, a Velazquez et al impatiently waiting for the razzle-dazzle to begin.
When reading about art, depending upon where you live, there is a lack of the ability to go out and actually see the painting or works by a specific artist. The internet is good to look something up and get the gist of it, but it can not compete with the real thing. There is a difference. Looking at works mainly online, going to mutli media mutations of an artist’s work have changed what looks “right” or “good” to a modern art audience. They do not want to see brush strokes or other evidence of an artist’s hands which are a part of their voice. A smooth machine like perfection as encountered online, on postcards is what is now preferred.
One could imagine Soutine talking to a gallery owner or museum director and being told “Don’t worry, we will smooth down the rough edges digitally…”
You can’t fight progress nor the populist bent but merely offer an alternative for this willing to explore. The ability to portray flesh in all its beautiful imperfections is something I will never tire of.