New Pencil

Ages ago I had received a 5 MM pentel mechanical pencil whose lead sleeve retracted into the barrel. On first look, i did not like it. This was back when the aesthetics of my equipment were still a major factor in my choosing of what to use. Aside from the retractable lead sleeve, the other feature often promoted were the soft rubber bumps all over  the area your fingers gripped. These were supposed to provide an anti slip aspect along with preventing your hand from getting tired as quickly. At the time I thought it further detracted aesthetically from any potential appeal the pencil might have held for me.

Once you are doing something all the time, for long stretches of time, any feature of it which can be specialized as to make the process less arduous is a must. Does the trumpeter who plays in weddings and parties on weekends as reprieve from their regular nine to five work week need a special custom mouth piece? No. Did Miles? Of course. I now spend seven days a week, hours on end with pencils in my hand. Anything I can do to lessen the negative aspects of this from  the type chair I use to what pencils, I will. While I still like the look of my equipment to  be pleasing, functionality is now the main consideration.

Now wherever in the world I am, I have one of my preferred pencils in my equipment case, but I also have one of the Pentel. This is because on the road i do not necessarily go out all the time with my trusty book bag,  I can throw it in a  pocket and not have to worry about the lead sleeve being bent, nor having it punch a hole through a pocket. An added appeal for me is that, while the pencil is by no means “hard” to use, it does not work with same intuitive ease as my preferred ones. However, getting the effects I want and doing good work with it makes using my preferred pencils feel all the more easy. I enjoy the modicum of challenge and will sometimes use this “lesser” pencil even at home in the studio just to stay limber.

For Christmas, I just received a new kind of retractable pencil made by company that makes my favorite to use. Aesthetically, it’s nicer looking than the pental. As with the Pentel, it does not operate as easily as my preferred type but I do enjoy using it. And I have already found that much like the Pentel, if I can make the magic with this pencil, then the preferred ones are even easier. The whole effect I would compare to when a runner trains with weights on their ankles, the day of the race removing the weights to run unfettered feels easier. The retraction mechanism is different from Pentel, neither better nor worse but just different. Pentel you press on the pocket clip and the sleeve retracts, with this one it is a twist and lock.

This is the second drawing I did using the new pencil. 9×12

It was worth paying for his drink if only because he tried getting a free round by telling  the bartender:

“I have crossed rivers of time to find you.”

W.Wolfson’19

 

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Dior Glasses

There is a pleasure to exploring when on the road. A different but equally satisfying thing is to have places all over the world where one is known, a regular. This is a self portrait of me at one of my favorite places while on the road.

Watercolor & Multi Media Paper 9×12

 

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Caro Diario

On the road. This paper was just laying around. Although it was generally being put to use as scrap paper, it is landscape style. It was nothing fancy nor great but I decided to improvise part of my trip diary on it. It is not whether something is frame worthy or selleble but the process itself which brings me joy and is the personal payoff for me. I was pleased with the results.

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Left Bank

What makes for a good trip or proper travel is not checking off a list of places to see with their associated objects;

The Louvre, Mona Lisa….

It is absorbing the feel of a place, ambience of scents, sounds..In taking time to do this, one notices how others live their lives & what is important to them. It also allows for a deeper memory retention of the entire experience which then adds to the “you”. It is what is actually meant by “Travel broadens the mind”.

For artists there is even more of a potential benefit.

Every artists works & travels differently. I am always “working” regardless of where I am in the world. The only variation is what equipment I am utilizing. Short trips will find me leaving the paints at home, filling my coat pocket with my trusty pocket pads as I like to travel as light as possible and most likely would not have time anyways.

Any give place should effect an artist. Not in the most obvious way such as “I am in London, I painted Big Ben”.

It is ambient light, the lines of architecture, they become further accoutrements to the palette. It does not mean that one enters artistic phases ala Picasso and Cubism et al. Rather, work done in one place  does not look exactly as it appears back home. The artists voice is ever present but there are different components to the fore, mixed in with some of the more familiar.

If you have never been or only as part of a tour group, then every place in France is lumped in together. Despite some commonalities, each area is distinctive with their own cuisine and habits. It is the same with the ambient light.

Aix-en-Provence is all beautiful yellows punctuated by bursts of trees and the sounds of fountains. Lyon is soft pinks as if the buildings are made or at least coated with the delicate charcuterie which they are the masters of making. Paris in itself is diverse. From arrondissement to arrondissement, from the Left Bank to the Right .

People, myself included, proudly proclaim themselves of their side of the river and which number arrondissement.

I like even some of the seemingly “ugly” streets with their time worn dirty gray and fatigued creams. These areas tend to be where some of my artistic heroes lived, cheap rent and every third door a no nonsense bar having been the draw.

I like working with colored pencils on gray or brown paper. I limit my palette intentionally as a challenge to myself. Getting the effects that I want in this way makes it “easier” when using paints. Although I use mainly pinks, it is realistic in that in the real world there are seemingly limitless colors but go out on street  look at buildings and the street. On encounters a fairly limited palette.

These pinks, urban children of Fauvists, remind me of some parts of Paris. Not that this color is found there but it is same effect, translated in my minds eye. This little corner I continue to pass almost daily. It has been there forever and i do not think it ever had any straight lines about it.

I initially encountered it when staying at my first great apartment. It was en route to my groceries and favorite bars. Four floors, impossibly winding stairs that made you drag your shoulder against the wall as you ascended since the light was always broken. The biggest part of the place was the bathroom, with a large old tub, frosted glass windows which opened up onto a shadowy verdant courtyard with its cracked flagstones. I kept the primitive hi fi in the bathroom doorway since it was connected to the bedroom. Only music with a minimal of voices sounded good as it was a mono player. Mostly Zoot Sims duets and Lester Young trios.The neighbors would lean against their window boxes of geraniums smoking and slowly nodding their heads to the music. Dark silhouettes with one wavering orange eye-dot that would flare with inhalation.

Hard work and I was fortunate to be able to trade up apartments. I remained in my neighborhood just moving a few streets down. The building has become one of the visual shorthand for the deep affection that I hold for the every day in Paris and those first exciting years.

W.Wolfson ’19

Left Bank 9×12 colored paper and pencil

 

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Face Dances

For Sharon Anderson

I had an acquaintance in Toronto who fancies herself a shutterbug. She walks all around the city snapping photos of whatever catches her eye. She does this on her own, with friends and as part of an informal group.

The city has some vibrant graffiti and murals. Someone had done one of Prince, which she snapped a photo of. Prince as he was in the first flush of mega-stardom, decked out in the white ruffles and purple sequenced jacket. The problem was, it looked almost nothing like Prince. The outfit was correct and served as a visual clue:  “you are looking at Prince”.  Had he had no shirt on (or a different outfit) as occurred in some promo photos and videos, then no one would have had any idea who it was.

A lot of stars, especially artists,  have one or two  images  ingrained in the public’s conscious. This is even more so for musicians of the pre Instagram age.  Record companies, Dj etc all had to have the promotional photos/packs. The publicity photo a pre requisite but not too often updated. Jim Morrison is forever fitting into his leather pants, shirtless or with white pirate shirt, starring back at the camera as he wonders whether it is all worth it, forgetting that Rimbaud gave up poetry to become a white slaver. Jimi Hendrix is caught up in a spider’s web of bandannas and clashing colors as he lights Monterrey Pop on fire. And Prince had the ruffles at the throat and purple sequenced jacket different in color but similar to what Pete Townsend, light years away stylistically from the purple one, wore in the sixties.

So much rock was born out of rebellion, which is why every generation still holds it dear. Lazily resorting to visual shorthand of well known outfits reduces them down to a sort of uniform, very anti-rock (rebellion).

The best art tied in to musicians/artists, they should be recognizable in a different outfit or even just the face.

What makes for an even more worthwhile work is not their recognizably but rather does the work radiate an emotion which in turn makes the viewer feel something. The handicap of doing the visual shorthand of obvious outfit is even with some of the better works, you are freeze drying the emotion(s) to what was offered up in the photo. All photos are the souvenir of a dead thing as the moment has come and gone.

Faces, not necessarily of famous people, have always called to me. To conjure up a face on paper is an important part of what I do. Emotion coming through is the most important facet of what I do.

Here are several faces, done on different types paper. The inherent properties of the papers adding themselves to my voice like spice(s) to a stew.

All are 9×12

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Val-de-Grâce

I used to work with pastels before seriously taking up painting. I greatly enjoyed the process but the pieces largely lacked the density, volume & mass that I prefer my work to posses.

Once I had obtained chops with my painting, I saw how I could have achieved the desired effects with the then abandoned pastels.

Like a lot of art things which become part of me/important to me, i fell into using colored pencils by complete happenstance. My painting showed me how to get what I wanted out of them much as it would have with pastels. There is a dichotomy to using colored pencils  in that to get what i want out of them, i need to concentrate while also utilizing a looseness which I avoid with my painting.

For subject matter, rarely do I do portraits with colored paper. I prefer instead landscapes and cityscapes.

I prefer to use colored paper, either gray or brown. I vary the size with the largest being 9×12. I intentionally limit my color palette, each piece only mainly using varying shades of three colors with the tiny splash here or there of  seemingly “wrong” colors. This i equate to the dissonant notes sometimes employed by Prokofiev and Monk.

Technique and conceptualization of colored pencil pieces are very different from my paintings. Having to utilize different approach & technique adds to how I think about painting. Aside from enjoying the process in itself, this gives it great value for me.

 

9×12 Val-de-Grâce

 

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