Tag: emotion

Three Ladies, Two Mediums

Been hard at work with various projects. I have continued to delve into the pastel medium. Slowly, I am making the original set i bought disappear, then I will try another brand.

There has been a big scandal recently about a well known author whose latest book was a thinly veiled character assassination of a famous actress. To her surprise, she has had very few defenders. An initial defense that she offered up was along the lines of the book not merely being a take down as to write a book requires time sacrificed from other things and effort. Why would someone put their life on hold merely to inflict pain or criticize?

With literature, there can occur slaps, bite-backs etc but if the point of the work is not entirely to harm, then these aspects are tempered by everything else going on within the book. For painting and drawing, the medium makes everything more immediate and there can be no interweaving of a negative and other things as to temper it. You can not do a painting which incorporates an insult/criticism with other things.

Unless a political cartoon type of thing, i do not know any visual artist who would use the currency of their time creating a work to serve merely as a weapon to inflict harm.

Social media has become so fantasy based, idealized versions of people smiling from staged settings, that to present someone as they are is now often not seen as a good thing.

This is why I often prefer to portray myself or members of my informal little troop, there is a trust in what I am doing. And the understanding of my philosophy, truth is beauty.

Nat 5×7 watercolor & Paper

Mar 4×4 Multi-Media Pocket pad

Helen 5×7 Pastel paper & Soft Oil Pastel

by Wayne Wolfson

Almost Blue: August 9 Selfie & Blue Pullover

The ever present phones in everyone’s hand has ruined the casual museum goer’s ability to enjoy a painting. Now, a painting must look photorealistic to be “good” because everyone is used to viewing art via their phones. No one wants to see an artist’s brushstrokes or any evidence of a thing done by human hands.

Phones allow people to capture the minutia of their lives instantly. It has almost become de rigueur, even for the most informal of photos for people to do a sort of post-production tweak. Skin is smoothed, other imperfections sanded down. Just as people do not want to see evidence of an artist’s hand in a painting or drawing, photos now may only vaguely suggest one’s age. Unless it is the point of a photo (like those amazing black and white photos of aged people whose crags make them look akin to sculptures) wrinkles, imperfections et al are verboten.

One of my greatest pleasure and something I never tire of is portraying flesh with paint. I did not feel like dealing with anyone but wanted to indulge in my raison d’etre, showing the gooniness of flesh. August 9th, I am looking in the mirror about to shave. Monk’s elliptical patterns float through the half open door.

Gazing in the mirror:

“Wow, good thing I am talented.”

Almost Blue: August 9 Selfie 9×12 Rembrandt paper (this is one of my personal favorites of all my paintings)

Blue Pullover 11×17 Tan paper

by Wayne Wolfson

Two Paintings: Ro & Swinger

The temperature in my studio is once again safe to be in. I had finished the Ro piece before my brief exile while Swinger lay almost done the entire time of my banishment. I am very pleased with both pieces.

Swinger has special history. Over a decade ago the place I had lived part of the year every year in Paris for a long time had art supply stores all around it. I had a preference for specific things from each store i.e my pencil store, my paint store et al.

By happenstance I became pals with one of the guys at the sore closest to me. It’s proximity meant that i often walked by it and would pop in just to walk the isles, grabbing pencils or little notepads which I really didn’t need. We would chat.

He started letting me use his employee discount, plus coupons and samples. The very last time I saw him, I was so loaded up with supplies (lots free non-sample things) that when returning stateside I needed an extra bag for all the goodies.

He followed a proto-Coachella girl to Ibiza, then all around the hotspots for EDM festivals until he vanished in the ether.

Swingers is the very last piece of paper from all the paper swag he had given me. Obviously, I did not use it non-stop but I did use it steadily in-between all other papers I was exploring.

I would like to think that he got the girl or maybe he realized he didn’t need to get the girl, that it was about the adventure. And now, like Ulysses, he is heading towards a land where people do not put salt on their food.

RO 9×12 Rembrandt Cotton Paper

Swinger 7×9 Cotton Paper

by Wayne Wolfson

Stacy Says

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

by Wayne Wolfson

Premium Supreme/ The Look

My trip was successful which means that I will once again get back to Cinefield® work. I did these two paintings, both of which are sort of road adventures.

Premium Supreme (selfie) was done on Rembrandt 9×12 inch cold press/fine grain paper.

The Look Talen Art Creations Multi Media pocket Pad 4×4 inches

Both used my usual studio paint set up .

With the holidays upon us might I recommend perfect gift:

by Wayne Wolfson

Frisky Koi

I am deep into working on my novella. I have been painting and drawing only as I can not split my concentration to the degree that my Cinefield® requires.

Excitingly, in a little under a week I will find myself on the road again for a short trip to collect raw materials (photos) for my next Cinefield® work.

Here are recently done drawings. They are all executed quickly. A methodology I heard about via a book on Matisse which has served me well:

Do drawings as fast but accurately as possible. If one can capture the essence of a thing or spirit of a person via quick execution, then it becomes easier when going slowly drawing/painting.

On a personal level I also have learned to work fast as I never want to be lumped in with the “writers” and “artists” one sees in Starbucks et al, where it is more a performative thing than actually doing work. Yes, yes we see you, you are writing. Ok settle down Tarantino….

Most of my drawing and Lyra pieces are done in Talen Art Creations Multi Media pocket Pad 4×4 inches

Wishing all a Happy Holidays!

by Wayne Wolfson

Menagerie

Drawing is the basis of art. A bad painter can’t draw, but one who draws well can always paint. Arshile Gorky

Drawing is the intellectual basis for painting. Matisse

As I continue to work on my novella & paint, i also draw daily. This always gives me great joy. It need not be a work others will see nor even one i will keep. A pencil nubbin on a scrap of paper, serving the process in this humble way excites me as much as one of my serious framed works.

I have a mission in what I want to do, convey emotions so that the viewer comes away feeling something. However, there are not specific parameters of what I will draw/paint to meet this goal.

I prefer the real, which to me is always beautiful, over the conventional notion of beauty. I am fortunate to have a stable of people who model for me, trusting me so that what I get is not the studied, academic poses but rather the more real.

Mostly I used Talen Art Creations Multi Media pocket Pad 4×4 inches This is a mix of pencil pieces and water soluble graphite.

by Wayne Wolfson

Night Tides (for Craig “Doodlebug” Irving)

Finally finished my latest Cinefield®. For each one, my ambition is to make it better than the last in some way. In this case, it is my most rhythmically complex.

I seek to engage the viewer via creating works which offer new things to be noticed with every view. Ideally, I inspire (and maybe even awe) but if I only offer a momentary respite from the unpleasant aspects of daily life, then it’s all well worth it.

Aside from the labor intensive aspect of each Cinefield®, other information:

Each piece is comprised of one or two photos which I personally took. There is no digital magic, I use the old school method of my trusty tiny scissors and adhesive applied with brush on an 11×17 inch piece of heavy paper.

I always see the design in my head ahead of time. However, what piece is put where is in the moment improvised. I do a basic schematic on the paper the fine details reside within my inner eye. I also put a phrase which ultimately becomes hidden by the mosaic. The inspiration for this was the beautiful movie The Phantom Thread in which a master tailor did similar thing with his couture. There is such a call for meticulous detail in what I do and it’s so painstakingly executed that I have always likened it to the little old man making amazing shoes on Saville Row type of thing so these two things inspired me.

I cut up the photos into tiny, tiny pieces and they are carefully lain out on sheets. I look at the sheets as I work selecting what goes where in that moment. Do not ask me how i know, I just feel it, each selected piece seems right for where it is placed. The entire thing is very labor intensive, i see tiny paper snow flurries in my dreams often when halfway through a piece.

The work is copywritten and not for use without permission.

by Wayne Wolfson

Song About a Girl #957

Just back from a trip where I was able to take photos to serve as fuel for my next Cinefield®. I lucked out and was able to get so much raw material it will allow me to do two which will lead me right up until next spring ( I won’t work on them back to back, taking a well needed break between which accounts for some of time frame)

While working on my Cinefield®, of course I will still draw every day and do my water soluble graphite work in pocket pads but this will be last painting for a while as my studio will become dominated by tiny confetti like pieces of paper laid out on sheets.

For this piece I wanted to try something a little different. I made the flesh appear without the volume and mass letting the lines tell that story of the body. I was very pleased with the results and enjoyed the challenge of going against my usual preference. That is one way for an artist to avoid falling back on pet-licks for a piece.

9×12 Rembrandt cold pressed paper 140lb

by Wayne Wolfson

Yoga

The painter Phillip Guston said that when one paints, at first everyone you know is in the studio with you and one by one they drop away until you are left only with the painting. I understand that, the pleasure of serving the process, everything else is temporarily suspended, where will the painting end up etc etc.

I am in the middle of typing up all my notes & stories from Europe. The visual work that I do, it is work but it isn’t. I have been going at a steady clip with my paintings but not because of any specifically set tempo. The visual work becomes a respite from the challenges of other things. Ideally, if nothing else my work offers people a brief cessation from the doomy bleakness of the news.

My paint palettes are now exactly as I want them, incorporating professional grade half pans from several companies.

This piece is 9×12 watercolor & Rembrandt cold press/fin grain 140 lb

by Wayne Wolfson