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.
Over the course of the past year have adopted the rhythm of doing a Cinefield® then a painting (while maintaining steady flow of nightly drawings & 8’s). At the start of a painting it rained for days off and on. I put it aside, the novelty of doing so being in itself of value for my creative process.
I started a new Cinefield® , the creation of which I do not need sunlight for.
Even though the shapes are lush and abstract, I wanted to see if I could achieve an open ended, open to interpretation sense of narrative.
“Bing-Bong” The piece is 11×14. As always all the images are from photos I personally took. There is no digital magic just my trusty scissors and adhesive applied by brush.
What feels like another lifetime ago, I made a CD. I felt very self conscious and looking back, judge my performances to be widely uneven. The parts that I can still bare to listen to, at the time I thought of nothing but what I was doing (talk/singing). The parts which are not as great, i was self conscious of the faces I couldn’t help but make while performing. A sort of seizure- scrunched up- ecstasy morphing into drawn- down horsey longness.
Way after the fact I felt what I had already intellectually known, no one listening to CD would think “Wow, I bet he had on weird faces while doing this.” And, that aside I now know it is highly subjective anyways. If one is a fan of a band, then in concert when singer looks like he perhaps could use an un-sharpened pencil put in their mouth, you think “Wow, he is really getting into it, this is intense.” Someone not into the band seeing same performance may snicker.
My In the Eights series is capturing looks we give but would largely prefer others not see. They are slurred to surrealistic proportions as I wanted to make it beautiful and off putting. It is not so much that for each of us our “eights” are there just below the surface, they come out, making appearances when we laugh, cry, are drunk, climax or for some of us, feel anger. It’s the terrible beauty.
The genesis of this series. My regular collages are very time consuming and slowly take over my studio with sheets of paper upon which rest tiny paper snowflakes. I alternate between doing a painting and collage. I worked hard to gain my collage chops and found as i worked on painting I missed it. I absolutely could not do both at once. When I am on the road, I am still creating but with the way my collage work is, that is all I would be doing. I came up with the idea to do drastically smaller ones which I would be able to do on the road and also while working on painting. Since I had the road in mind i knew I would not be able to use 100% my own images as I usually do. I also realized I may not be able to achieve my preferred density. The answer was to do portraits. My first few 8’s were found pictures. Reluctantly, I showed them. People really liked them an encouraged me to do more. I was able to get people to model for me which had been my one initial qualm about showing them initially.
They are small, all being roughly index card sized. I work no digital magic, utilizing old school technique of scissors and adhesive applied with a brush. As it is an ongoing series, I am always looking for new models, email me for details.
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.
Northern Californian artist and writer Wayne H.W. Wolfson is completely self-taught and has had an expansive career. He has amassed a large body of work in a riot of colours and eclectic styles. This makes him one of the most striking, interesting and chameleon-like artists around. A Million Ways To Die Collage by Wayne HW […]
I decided to work in a slightly different way with this painting. Most likely to the viewer it will just look like another of my paintings with no radical visual departure.I noticed a difference and will switch back forth between the two methods. Varied approaches are another thing which will allow me to keep things fresh. I want to create and not produce paintings.
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.
I do not view one of my mediums as of greater importance than any other. Regardless of what I have done during the day, painting, collage et al at night I sketch. In rough estimation, I probably carry out my night time sketching 360 days a year with arriving in and returning from Europe being the only established days I don’t.
This nighttime sketching is in the parlance of musicians, termed “wood shedding”. It is the equivalent of when a musician practices scales. I am always surprised to hear some of my peers do not do this as even Coltrane continued to constantly practice.
With every collage I do, I learn something new and refine my process. Often I find that when I discover an easier way to do something, there is the feeling that it was so obvious, how had I not thought of it before?
A few nights ago the idea hit me, to wood shed with my collage too. I mulled over initial “rules” knowing that they would most likely be expanded upon as I go.
It’s very important to me that I use my own images from photos which I personally took in my collages. There is always a component of jazz like improvisation in my collages and I worried that using them to wood shed would take away some of that spontaneity and power.
As I had no intentions of showing the results of wood sheds to anyone, i would not be concerned with using images I did not photograph. The other factor of this is that with all the images I use, I do not want to have them appearing over and over again in my work (at least not without a long break in-between). Using other images will keep mine fresh for me. The other rule which immediately came to me is that they should all be small. Usually my collages are time consuming and it would not make sense to have practice work take days on end. Also working small was nice challenge. I do not have uniform size but none of these go much bigger than 3×5.
The few people who I showed these to were very enthusiastic. I must admit that I liked them too. After the first two I established an aesthetic which is beautiful but also slightly off putting. Despite the pleasure i get from even just practicing, I do not see myself putting these up to view too often, so enjoy the initial foray into establishing a new arrow in my quiver.
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