This is my last painting in America for a while. It is Watercolor & French cotton paper 5×7. (As has become my practice I will use whatever paint is left in palettes to do a pocket pad piece too)
I was very pleased with how it came out.
I am always looking for interesting people to draw, feel free to email me photos (people only) if you think you may have something of interest.
Do not forget about my newest release, available in paperback & kindle:
I am in the process of getting the release of my next collection ready. And, I am few weeks out from returning to Europe, so I can not devote massive amount of time required by Cinefield® work. The actual work involved in creating a piece aside, I can’t have my studio take on the inevitable sprawl of sheets of tiny cut out shapes which is part of the process.
Instead I have been doing paintings which is different but as rewarding for me.
Each Cinefield® has been different from the previous and sometimes, time between creating them actually can help. As does going to different places to take my raw material photos.
Here is my latest painting. French cotton paper 5×7 inches & watercolor.
The release of my next collection is roughly two weeks away. Because of this and wanting to take different photos to serve as Cinefield® fuel/raw material I am mainly painting right now.
As to keep myself engaged, I keep switching size(s) and types of paper.
My latest is watercolor on French cotton paper (cold pressed) 5×7 inches. I was very pleased with this piece which is now a personal favorite. No matter how often I do it, the portrayal of flesh in my work always gives me the greatest pleasure.
I am always looking for interesting things to draw/paint. Feel free to email me if you think you may have something of interest.
Back from the road. I finally had success in getting raw fuel for my next CINEFIELD® pieces. The amount of time it takes to do them combined with all other things I also work on means that I am now fully booked as far as they go until December.
It sound weird to say this in the tail end of August but it’s matter of time to actually creating plus all other things I will work on concurrently. It does not bother me.
With social media and the internet in general, whether its work being seen or responses, it’s easy to get instant gratification. My work would have grown stronger quicker back in the day had I actually gone slower.
I know this seems counterintuitive and definitely hard to do with the temptation of all those eyes available to check out a work immediately upon completion. My advice to anyone up and coming, let the process come first, let the process add to the chops then start to really worry about site numbers etc. Long run your work will be stronger and you will be able make longer term schedule which lends to work growing organically (chops too).
Even though I can now start a CINEFIELD® it will be a bit before its ready. This space will show what I am doing concurrent to that work.
Sasha 9×12 chalk
Still in painting mode. I am literally hours away from short trip which in theory will provide me with photographs to use as raw material for my Cinefield® work. Having had an enforced break, initially I chafed, since I was not controlling the tempo. I now see a positive in having had wait what feels like a long time before creating my next one.
The wait has allowed me to have some new ideas and allowed me to approach my Cinefield® work feeling refreshed.
It will be interesting to see what next one is like as photos dictate the flavor of the piece.
In the interim, here is new painting.
Reflex 11×17 inches Watercolor & Tan Paper. I did a study for this which I don’t do with all my paintings.
Annnnnnnnnnnd I am off. Always looking for interesting things to draw & paint email me if you think you have something to offer.
The short trip I had planned to take photos for my next Cinefield® had been put off. I took the time that I would have been working on that and painted. For two plus weeks now my area has been in the grip of triple digit heatwave. Getting more photos further stymied, I have continued on with painting.
I usually switch between Cinefield®, painting and other visual project, so working on so many paintings in a row is novel for me.
To keep it fresh, for each painting I change the type & size.
This one had an unique compositional balance to it. I find beauty not necessarily in what is aesthetically pleasing to the eye, but what is real.
This piece is 7×10 French Cotton paper & watercolor.
I am always looking for interesting things to paint & draw, if interested send email.
Among my greatest pleasures is to portray flesh with paint. It is not a salacious thing, it need not be a nude. I’ve done many hands and other body parts. I have done closeups on things so that they verge on abstractions, the viewer initially not knowing what they are looking at.
This is an aspect of painting which consistently keeps me engaged. The wonderment of it, one starts with a flat two dimensional square or rectangle. With pencil & brush you conjure up not only volume and mass but the suggestions of warmth as blood rushes to the surface in areas or through the veins. It is akin to a sort of magic trick and no matter how many times I do it, I still marvel at it.
I switch the types of paper I use as to avoid lapsing into mere mannerisms. With everything else that I do creatively, there are still times that certain types of paper or pencils fall to the wayside temporarily.
This piece is 9×12 and on a white paper which was main one I used to use most of the time. I have finally circled back to it once again. After such a long break, the one which had been the de rigueur found itself the new-thing challange.
I was very pleased with results.
L 9×12 Watercolor & Paper
I am always looking for interesting things to draw/paint. If you think you have something email me.
Ever present cell phones have allowed all to capture the minutia of their lives via pics and Shakey-hand movies. on occasion marvelous things have been captured. The more present negative is that people have forgotten how to look at paintings.
A “good” painting now must be in the real/hyper real style, being comparable to photos. It is not desirable to see the artist’s hand via brush strokes et al in a work.
I was in a museum which was having a Magritte show. There were the by now all overly familiar images on display. People would walk up to the best works, striding off muttering in disappointment that they liked it more when they had seen it on a computer screen or postcard, in person it looked “too homemade” i.e. brushstrokes etc.
I am not afraid of having one of my drawings look like a drawing or a painting. With Matisse for example, no one is going to study anatomy off of one of his works. However, when he portrays a woman reclining on a couch, you know what you are looking at. Had you been alive at that time and in the neighborhood you might even recognize the woman. Most importantly, even after all these decades, the captured emotion still radiates out of the works.
I prefer to not use professional models. There’s often an artificiality to their poses. My main thing is emotion, this is what I want to give the viewer even more than admiring technique.
More often than not, I use people whom i know and that trust me. This allows for a realness which is beautiful. The realness of my paintings is not the technique but the natural poses and emotions.
Truth is Beauty 11×17 Watercolor on tan paper
Now locked into a groove with creating my Cinefield® piece. I continue to draw every night. Here are some more quick sketches.
I am finally temporarily done with being a road-dog and the weather has turned beautiful and spring like. Starting a new Cinefield®.
While busy with everything else going on, I have continued to draw every day. It is part of who I am. I also hope that it offers brief break from the mundane and the pressures for all those who take a minute to look.
My Cinefield® work is labor intensive, but I will still draw a little at the end of every day.
Quick Lyra Piece
Paper Life Painting 