Whammer (Selfie)

Finished my painting. I had actually done a study for it beforehand which is not my usual way of working.

A bunch of us used to sit around and play games which were tied in with the life of being an artist. One was: describe your technique or mission in one sentence. For me it has always been “The gooniness of flesh”.

I want to show the heat generated by the flesh, the blood coursing below the surface, the splotches, the bruises.

Probably couched in grandeur terms, this was one aspect of the power of the work by the tronie painters as well as the mannerists painters. Even Jenny Saville’s earlier work has elements of this beauty and power.

I often do self portraits as showing myself as I am does not offend nor disappoint me as it may were it someone else emerging from my brush.

It is a truth and truth for me is always beautiful.

It is 11×17 Watercolor on tan paper.

Quick Sketch Study

Always looking for interesting things to draw/paint. Email me if you think you have something.

Anniversary of a Close Call

With each of my Cinefield® pieces I try to one up myself or stretch forms in some manner. For this piece, I wanted to create a work where one can go back and even with repeated viewings find new little moments. I feel it succeeded, this being the most rhythmically complex piece I have ever done (so far!).

In the past, I have not gone into certain aspects common to the creation of all Cinefield® pieces as I was conscious of it sounding too close to boasting. All the images are from photos which I personally took. I always have a rough outline of what I am doing in pencil on the paper. However, when I look at the photos I use, often limiting myself to one or two which I just print in multiple copies, I do not know what will go where. I can have two copies of the same photo and cut them up completely differently. All the pieces are very tiny. I do not know what tiny piece goes where until I am laying it down.

I work with anywhere from one to three 11×17 sheets on tiny paper confetti sized pieces. I stand at table looking at the paper w/pencil outline for design and then see what I have cut up and where I feel it should go. What this means is that every Cinefield® which represents hundreds of hours per piece, each work session is an act of complete improvisation.

This piece is 11×17 . no digital magic, just my trusty scissors and adhesive applied with brush.

A.I & art. There is still a misconception about A.I generated artwork. A.I, if you ask it to create a city scene, does not spontaneously create a work from scratch. It pulls different aspects of pre existing work by others to create a sort of frankensteined version, more often than not without permission of the original artists. Copyright your works before doing anything with them, this includes posting on social media. If your work blatantly shows the artist’s hand i.e it looks done by hand, it’s not as much a worry as mediums such as photos et al.

Cinefield® – Where the Sauce is Deluxe

Throughout my oeuvre, emotion is my ultimate goal. I want the viewer to feel something. Music is my main source of inspiration regardless of subject matter or even medium.

I have pretty big ears, never restricting myself to one genre nor era.

Although I lean towards jazz & classical I do have some categorization defying things in heavy rotation too. Things like Kruder & Dorfmeister, Kina Rao and Funki Porcini.

Funki Porcini is an absolute favorite to whom I have listened to for years. His music encapsulates various moods. In lieu of one sonic voice ever present on every album which can lead to a feeling of heard one heard them all, he offers up instead, technique which he uses to great effect to create dense dreamlike works.

My Cinefield® vary, from cityscapes to floral explosions to abstracted colors and shapes. The commonality being their density and dreamlike quality.

I now have the pleasure of one of my Cinefield®  being used as a cover for the forthcoming full length album by Funki Porcini. Both share the same title. As is always the case with my Cinefield®all the images I used were from photos which I personally took. There is no digital magic, just my trusty scissors, I applied adhesive with a brush. One difference in my methodology was in only listening to a specific soundtrack comprised of a pile of albums including the new one and a few other favorite of his as I worked. The piece is 11×14 inches.

I will put up details on where the album is available once its out.

Cinefield® – Where the Sauce is Deluxe 11×14

There is a special multi-night gig associated with this going on:

We will be doing the album launch with the Laserium at commonground in Coventry, four nights 28-31st January.

Tickets HERE

1/29/22 The album is now out and available via all the usual digital platforms (amazon, bandcamp et al) bandcamp link:

https://funkiporcini.bandcamp.com/album/where-the-sauce-is-deluxe

These are not the small trusty scissors but the cut last minute chad ones

              

Cinefield® Tiny Annie Two Trips

After finishing my last Cinefield® I started a painting. Weather conspired against me with heavy fog & rain. As they do not require same light situations, I switched to doing another Cinefield®. I wanted to make this one look painterly, a further evolution of chops & (artistic) mission.

It proved to be a labor intensive piece. At 11×14 it took me longer to do than some of my far larger pieces. As is always the case, I only used images from photos which I personally took, utilizing my trusty scissors and adhesive applied with a brush. There is no digital magic done after the fact. This is a personal favorite of mine, not just within my Cinefield® work but for my entire oeuvre.

This was by no means the smallest size of pieces I dealt with for this work

Gossip

Being in Paris has always been a sort of battery for my work. During this pandemic for the first time in decades I found myself cut off from my usual arrondissement and sources of inspiration. I recognize many had it far worse than I, so bare in mind I am not complaining. I needed to find a new way to work for essentially first time in my career.

I had my usual routine but mixed in with this were little challenges, explorations as to facilitate both evolution and insperation. I started several series utilizing new to me mediums, ideas and goals.

Gossip in one of them. It is not a book so much as a work of art which utilizes text. It is not only something very different for me but in general unique. I would call the art “immediate” in the same sense as some of the works by Wayne White & Ed Ruscha’s text incorporated pieces. You view it, have initial ideas but then chew upon it after the fact.

One thing I highly recommend is that you do not take a peek inside as amazon offers but rather go in completely cold with no idea what awaits you. Were it up to me, I would offer no “sneak peek” but amazon has other ideas in that department.

Rarely do i promote my works to buy. I would always rather have an audience than customers. With Gossip, it is meant to be viewed as a whole start to finish and there is simply no way to show parts of it in journals or what not without loss of effect.

All the images are created by me as is the text.

From the back cover:

At its best, the stream of life is like a great jazz standard. There is the familiar melody but with each player there are infinite variations and improvisations occurring within the known framework. Not just what the player says but the way in which it is said, the tone, make it worth revisiting. Further variation derives from our perceptions. One person’s requiem is another’s calliope.

Here is my riffing on humanity, flurries of notes darkly funny, tragic and image rich.

The Jenny Three

I have always been a city-boy. I can appreciate nature and do not mind being away from the city in (very) short bursts but it’s the places which float upon the concrete that call to me non-stop.

This piece is a sort of ballet of neon. I wanted to capture the sense of rhythmic motion, the undulation of lights which shimmer in near abstraction depending upon from where one is seeing them.

The work is 11×14. There was no digital magic used, merely my trusty scissors on photos which I personally took and adhesive applied with a brush.

addendum: briefly I am accepting models for my “In the Eights” series. Email me for details.

“The Jenny Three” 11×14

First Her Tears were Purple, Then Blue

I finally had to bite the bullet and get a real camera to photograph my work. This coincides with a greater complexity in my collages. Gone now will be the caveat accompanying images of my work;

“I just used my phone to take the photo, it gives one the gist of the work but not all the dynamics.”

Being a complete luddite, it’s going to take a little bit to become proficient with my camera. The timing of getting it worked out perfectly though as I just completed my most complex work. Ideal thing with which to try out new camera.

As is always the case, the components of the piece are from photos which I personally took. I work no digital magic on the piece, utilizing old school method of scissors & adhesive applied with brush.

I try to alternate between doing my painting and collage. The idea for this one came to me during dinner (the original sketch on back of grocery list pad). I decided to change up my rhythm and do another collage before a painting. Going forward, it will be interesting to see what added vibrancy will be added to my collage as I will be using a far superior camera to photograph my source material.

“First Her Tears Were Purple, Then Blue” 11×17

20200807_10454320200806_12435220200801_133718work in progress

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