Pour Vrai

Life as we know it has remained if not completely on hold, then altered. The rhythms & goals now a familiar stranger. It had rained off and on, so I did two Cinefield® pieces while waiting for my necessary to paint sunlight. The weather finally obliged me and I went to work on a new piece. With the changes of season the ideal times to paint & to photograph the finished paintings change.

Of course I have this memorized, it has become reflexive, a sort of muscle memory of light utilization. One thing which has always served as a reminder of shortly being about to change my painting hours are activities that I am doing beforehand. Coming back from my Parisian residency heralds a shift, etc etc.

Without all my usual activities as prompters, I found out upon completion of this piece, that I have hit a optimal hour to work change. It was an odd sensation, a bitter taste in my mouth. I will be the first to recognize that many have it far worse than I. It once again firmed up my resolve to put my work out there, not as any kind of cure nor solution but to offer up to all, a brief respite from what ever trials are currently being face.

Pour Vrai 9×12 Watercolor & Paper

Black Shirt

For me, truth will always be equated to beauty. It is the imperfections of someone you find yourself caring for (or desiring) that your mind calls forth when thinking of them. That crooked smile, a small scar on the chin from scratching too much during bout of childhood chickenpox. Traditional beauty, the yardstick many use in their aesthetic aspirations becomes generic and boring very quickly.

When the more casual art fan is given a bit of art history, almost always a shorthand is used. The impressionists are reduced down to a bunch of guys with beards who used seductive colors in a lush, hazy sort of way. This was one aspect of it. They were the first (building off of their immediate predecessors Courbet 1819-77, Millet 1814-75) to be showing people as they were. There was no idealization of the denizens of the boulevards and theaters. The paintings are stunning but one encounters broken capillary noses, clothes that need laundering, eyes with lids heavy from lack of sleep. It was the real, every day life as they encountered it, caught on canvas.

Since then, every single painter did not stick to this direction. The impressionists freed up art and from aspects of what they did has sprung a multitude of genres, sub genres. But, there will always be a section of painters out there capturing real life with their brushes and pencils. A favorite painter of mine, Wayne Thiebaud is often lumped in as a “Pop Artist-Painter” because of his subject matter, cakes & candies (his portraits are among some of modern paintings best and he should be better known for these). What makes pop art is not what is portrayed but rather an ironic coolness. Thiebaud is not aiming for this but in the tradition of the impressionist portraying his life and what is in front of him.

One of my first times going to the Musée d’Orsay, a painting which held me before it, showed a man in red pajamas not looking very well as he lay covers pulled up almost to his chest. His skin was very pale but with waxy yellow undertones and little suggestions of green. You know things most likely are not going to end well for him and the painting itself is unpleasant to look at but also beautiful in its execution.

One of my greatest pleasures in life is portraying flesh in my painting. I never want to lapse into mannerisms though and so constantly challenge myself. I portray flesh in all its varieties, hot from a blush, pale from sickness, bruised from some mishap. One of the best self portraits I have done and which is frequently used as my author’s photos shows me with a black eye I got. There is no program or symbolism in any of this for me. For this piece, although one could look at it as encompassing all of 2020, it was just meant as a challenge to myself to show one person’s very bad day, the truth being beautiful in its honesty and execution. Terrible beauty.

Black Shirt Watercolor & Paper 9×12

Blue Nails

Traditional ideas of beauty bore me. They blur together into a generic oh-la-la which is not remembered five minutes after it is no longer present. For me, the true, the real, will always be beautiful.

The real serves to facilitate emotion which will not appear prop-like nor freeze dried. When i first started delving into the world of social media I was at great pains to explain that with my pieces which showed real bodies as we all have or encounter, I was not mocking nor satirizing. I do not feel this need any longer and I suspect that what each viewers reaction to these bodies is, says something about them.

Times are still tough for us all. Art & culture serve to offer a way of reminding us of what we all have in common. It also is a place mark for what waits once we do not need to devote the lion’s share of our time to the bad. I do not look forward to returning to “normal” or “how it was” as those times were not great for everyone. I look forward to the time when we can give attention towards helping each other be the best versions of ourselves. In the meantime, I offer up my beauty for all.

Blue Nails 9×12 Watercolor & Paper

Toronto

During the pandemic I have made constructive use of my time about 90% of the time. Of course now and then I need a break from working & thinking. I’ve tried watching some of the genre shows people talk about. The shows which take place post-apocalyptic, the writing at best is “I wonder what is going to happen next?” Missing from all of these type shows is a largely untouched upon important component.

Of course in middle of a zombie outbreak first consideration is escape, safety. Shelter, food and ability to defend oneself are the primary concerns understandably. Some of these shows have been on for years and they do not really show the toll which would be taken on humanity collectively with the loss of culture. Making things (of beauty) just for the sake of doing so or if one does not have those skills, then viewing them. Life without culture as non-stop collecting or searching for the basic essentials would see a profound rewiring of mankind’s way of acting and thinking. After “X” amount of time, would it even be worth sticking around?

This mental fast food made me reflect on our current situation. I do not think it the duty of artists to put specific messages, rhetoric or agenda in their works. I do however think that, especially in in trying times, it is every artists’ duty to do their thing, create something beautiful.

It serves as a reminder of the better part of humanity awaiting us all when the trouble is over. It unites us all in reminding us there are things which are not unpleasant that link us all all together. One can not avoid bad times, we are all trapped by history. As artists we can put beauty out there, a page saver for when our thoughts and actions can once again look past merely surviving.

Offered up beauty. As usual all the images are from photos I personally took. No digital magic was used, just scissors and adhesive applied with brush.

“Toronto” 11×14

Summer’s Last Dusk

I like alternating my collages between the ones which offer the feeling of an open ended narrative and those whose goal is merely to convey a sense of lush beauty.

A key component in the creative process for me with the collages is that it feels fresh for me, otherwise it would be mere mannerism.

I seek to constantly evolve as a way to maintain my own sense of excitement. One way I do this is going outside my established methodology/mission/philosophy. As a new challenge I decided to make a piece which was beautiful but also programmatic. A work with program but which could be enjoyed by the viewer even if they were unaware of program. I have never been a fan of work that seems “blah” until you find out what’s behind it(program/meaning) and then this new gained knowledge makes one nod their head with comprehension as “Ohhh” is uttered.

This piece is 11×14. All the images are photos which I personally took. There is no digital magic worked, as always utilized my trusty scissors and adhesive applied with a brush.

Side note: I received so much positive feedback about my “In the Eights” series I decided to publicly continue it. Temporarily, I am seeking models for the series, send me an email (not through word press) for details.

Orange Cardi

The sky has finally stopped looking like a martian dawn. I was able to finish the painting which had been on hold for what felt like forever. It was an odd sensation having a painting quarter of the way worked on and having put it aside due to circumstances beyond my control.

I feel fortunate that I had other mediums I could do while I waited (collage & my daily drawing). Finally was able to suss out how to use my new slr camera. I think the photos really show you depth and detail better than i had previously capture with my phone.

“Orange Cardi” 9×12 Watercolor & Multi Media Paper

She Knows

All the mediums which I work in are of equal importance to me. I get as much pay off putting pencil nubbin to scrap paper as an accomplished portrait. One of my biggest joys of which I never tire is portraying flesh via paint.

I never think in terms of “beauty” in the traditional sense of the word. Western idealized beauty very quickly becomes boring (same old-same old). I would rather an emotion which is real because truth is always beautiful. It is for this reason I largely prefer to work with people in my life as there is a trust there and they feel free to let their emotions be real in front of me.

For my painting I only ever use natural sunlight. I noticed at the start of this work that where the sun is when is starting to change. It appears the summer has snuck away.

“She Knows” 9×12 Watercolor & Paint

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For Trummy

I have just finished my most labor intensive collage. Interestingly, it was far from the largest that I have ever done. I set aside my often used aesthetic of creating the feel of an open ended narrative for something that is just beautiful. I worked no digital magic on the piece, utilizing old school method of scissors and adhesive applied with a brush to photos which I personally took.

I was very pleased with the results of this piece and feel with every new work I learn something. My new camera was used for the photo which definitely helps to convey more of the intricacies of my works.

“For Trummy” (if we ever see each other again, I will look different, you will look the same) 11×14

 

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Rochelle

A painting of a woman (or anything) is not a woman but rather a thing unto itself, offering up an emotional pay off not limited to the specific real life moment of the subject. The subject is merely the starting point. Art allows for a great myriad of feelings to come forth, more  than a photo. Onion like in layers, of emotional cadence, there  is also the injection of the artist’s voice to the subject. This allows a viewer to return to a piece multiple times, finding new things and creating a different narratives in their head.

Emotion should not strive to encompasses any type of perfection, the same with beauty. I always aim for a truth in my work, honesty inherently being beautiful. Emotion, even the seemingly “negative” ones appeal to me to portray for this same reason.

This is my third tan paper piece. I was very pleased with it. It is my voice, the same effect as a musician switching instruments to play a different type of song.

“Rochelle” 9×12 Watercolor & Tan Paper

Rochelle

 

A Million Ways to Die

For all my work regardless of medium, emotion is my main goal. One way to ensure this happens is fostering a constant evolution.

I received many great responses to my last collage and it is a personal favorite. For my next one, I knew that I wanted to do something as dense but also different.

I limited my color palette which I have done before but this time i went with darker, more somber colors. There is a return to a more outright sense of narrative in this piece too. The last piece was a beautiful scene but not story. To my core I will always be a city boy and now I have created another one to visit in my daydreams.

As with all my collages, there is no digital magic worked. I utilize the old school method of scissors & adhesive applied w/brush to photos which I personally took. (new camera for photo)

“A Million Ways To Die” 11×14  (the lines visible beneath pieces don’t mean anything , they were resting on piece scrap paper w/discarded sketch)

 

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