Hot House

People have forgotten how to look at figurative art.

This largely is on account of the always present phones in our lives. Ever present and ever ready to capture whatever we deem important or interesting. The ability to now document the minutia of our lives has made it so that the “merely” representational images seem “off”, wrong or not impressive, so used to the availability of actual photos have we become.

Now, if you draw a person, it needs to be hyper real to be appreciated by the casual art peruser.

It is all right for a portrait to look like the subject but also like a painting/drawing.

We treasure the paintings of Matisse and while when he portrays a woman on a couch we know what we are seeing, no one is going to ever use it to do a technical anatomical study from. The emotion resonating from his work not technical portrayal is where the joy is to be found.

Another aspect which seems largely forgotten are the dynamics between artist & model. While most artists want to convey the likeness of their subject, ultimately it is as if the artist is describing the model using their words, words in this case being their style (technique).

A final important component in portraying a subject is that none of us look the same all the time. Mood, health, ambient surroundings all dictates changes on our faces, bodies and even body language.

I often use same people over the course of many works, each time there are little differences. This is not imperfection of technique nor chops operating only at a certain skill level.

Doing it right, a series of pieces using same subject is not dissimilar to Bird & Diz riffing off of Hot House. The basic structure remains familiar but with changes built off the initial theme, always slightly different but containing recognizable components.

 

Here is informal series I did. I never think of what I want to portray, I just execute what I see without agenda. After the first piece, this series showed a playfulness along with a bemused surprise at a until then, thought secret vulnerability.

Music Addict Paris ’18

 

Jam session

Anytime one sees Paris on television or in the movies, as a character passes by a window or stops in front of one to gaze out and ponder some plot point, the Eiffel tower can be seen.

More often than not, this is not geographically accurate for where the action is taking place.

That aside, not a bad view to be sure. But I think there are more inspiring views which would have less ambient noise of tourists etc which can distract from living one’s life (working) in the city of lights.

Year after year I live in the same place, same arrondissement, in Paris. It is  a working neighborhood, meaning no tourists.

However, every other door which is not a residance seems to be a bar or boulangerie.

I am ten minute walk from places to sketch like the Luxembourg gardens.

I have, after all these years become a part of my neighborhood.

When I am elsewhere in the world, I dream of being back. I have decades long relationship with my wine merchant, butcher, greengrocer and baker.

There is established level of comfortability that I know I can sit in a bar sketching on the sly and not be perceived akin to one of those people with their laptops “writing” to be found in every Starbucks stateside.

It kept raining off and on…steady rain would be all right people would click clack down the wet cobblestone streets holding a newspaper or their jacket, cape like, over their heads.

Sporadic rain, it got humid. Clothes got wet, then you find yourself cold, followed by a type of sticky as body heat working over time dries away the rain.

Stop-start of the skies festivities,  people are just staying wherever they are at.

I am in one of the little intimate bars which despite my now having a studio, serves as an unofficial office.

There is a tall brown haired girl sitting alone at the bar. She wears a still wet dress whose true color is slowly being revealed as it dries.

I am at my usual table, stealing pieces of her with my pencil.

A guitarist is in the corner playing.

At first he is playing for her…his fingers conjure up abstractions which encapsulates something that could make one happy to be blue.

She is forgotten, now he plays for himself.

Her change on the counter, the cymbal fall, the end of a song.

He sees me, I nod.

I hold two fingers up to the bartender. He has never cared about busy versus dead nights so long as he sees the familiar faces of regulars over the course of the week.

We Klink our glasses.

I see him look at my sketchpad. Without hesitation I hand it to him to inspect.

He had originally wanted to be a poet using language and words as to convey the emotions which are now brought forth via his fingers. Words to make people feel.

I had wanted to, in my youth be a musician .

We had both found our way, just not in the manner originally envisioned.

Paris May ’18

 

Quick sketch

 

 

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Return to France

Before heading to my home in Paris, I was down in the south of France doing research for an essay of French gastronomy of a bygone era.

It was not conducive for my painting but I did sketch non stop. I utilized my ever present midori passport pocket pad.

I enjoyed the challange of such small size, 3×5 to create fully realized pieces.

Some of my reading inspired me to shake things up as I had long been familiar with the size. I started using both sides of the page, holding the pad vertically (so that what were the books edges became the too and bottom).

It was interesting ng in that more space does not necessarily equate to easier .

One has to think of compositional balance differently.

Back in paris. First morning in studio started a painting 5×8. The weather going from overcast to rain has not facilitated progress so I am back to sketching.

I find myself now also combining my own texts to pieces.

Even with the rain, it is great fun adding to myself in a way which shall remain with me.

 

 

 

 

 

On The Road

I travel a lot. One thing I have noticed is that for the last twenty years or so, go to any great city in Europe and inevitably you will see tourists walking down the main streets filming.

Excitedly, they want to capture what they are seeing and where they are as to show friends & family back home.

This is faulty logic on several levels:

Technology is constantly changing. One year i saw people walking down the Champ-Elysees using the camcorders that you just insert an actual VCR tape into. The next year cameras were far smaller. People are inherently lazy, no one is going to do transfers of all the footage shot over the years and even if you had the gumption to do so, it will look terrible.

When showing footage to friends  back home, although somewhat of a sitcom cliche, it quickly becomes  boring. A shakey cam view of streets, unless something amazing is caught on film, quickly becomes dull. And although most friends most likely will not say so, the mind starts to wander as they watch the footage.

 

Photos are a little better. A photo potentially offers a more obvious immediacy of what is “important” that the viewer should be noticing.

However photos offer their own drawbacks. People in search of the perfect instagram photos are so busy concentrating on that, that they are not in the moment. Go to any museum and watch as people run up to an immortal work snap a photo with it behind them, then run off. Yes, one may have “seen” a Van Gough et al but aside from location and year of trip little else is remembered despite getting massive numbers of likes & retweets on their sites.

I am by no means anti technology. I enjoy the instant gratification of emails, skype & texting when on the road. I also do take some photos. These things though are given very little of my times.  I have found that I absorb more and it becomes more memorable doing quick sketches and some notes of what i am doing and seeing.

To whomever I show these records of my journey to, they are seeing what was important to me and it is more engaging. (Even the best photo one takes or Paris, Rome etc etc thousands of other people have gotten the same exact shot!)

Not everyone can draw but anyone can jot down the interesting or odd little things they come across. Anyone who would claim to not come across anything to write is probably missing it because they are texting or posting to social media.

For any journey the thing is not to be ourselves as we are at home, making everything around us adapt. Rather, it is  to explore and be open to a life lived differently  as to draw new things into ourselves fostering evolution (intellectually, spiritually etc)

 

Charcoal Text & Image improvisation 9×12

 

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Charcoal

I have just started experimenting with charcoal. I am sure as I use it more, I will become even better but right away I feel it a successful medium for me.

There is a looseness to charcoal which lends itself to an emotional expressionism. When I do a charcoal piece, i do not use pencil first. To utilize the safety net of being able to erase is to miss the point of what charcoal has to offer.

Here are my very first tries. With the portraits i have done, there is a sort of gauze like effect. For myself, i generally work fast. Charcoal seems to want the speed of hand as to offer up more organic depth.

“Miles” 9×12 “Left Bank,Paris” 9×12

 

 

Cecil Taylor

Cecil Taylor 1929-2018
His was such a singular voice. Despite how new and unique his work, he was also incorporating aspects of Western modern classical tradition and forward thinking jazz composer/musicians (who also worked at times off a classical template) such as Duke Ellington.

He also drew into himself for inspiration sources outside of music such as poetry and architecture.

I had just done a portrait of Cecil 3-17. In keeping with his outside the box approach, i decided to honor him w/sculpture.

I have been doing sculptures for years but look on them as a largely private matter.

Mostly it is done to keep the juices flowing, not really with any intent to show or sell them.
Stylistically, they are akin to some of what Cy Twombly & Robert Rauschenberg did. (one part totemic object, one part sort of a chronicle of a moment). There is also a strong improvisational element to my sculptures. I use what is around and what speaks to me with no pre plan.
Viva Cecil April 6,2018

 

Ceciltaylorsculpture

 

 

Gougiere & Consomme

Watercolor & paper 5.5 x 8.5

Progenitors of cubism Picasso & Braque used what was around them for subject matter. Anyone who spends time not as a tourist but living in  Paris (as I do) knows that in a studio, wine & alcohol bottles are ever present along with other signs of entertaining such as packs of cards, cigarettes and the odd article of clothing left behind. These things plus the mandolin which Braque played with proficiency were all grist for the mill of early cubist compositions.

They used what was before them as it was theirs, their lives.

Every artist should strive for a constant evolution. A part of this is creating a personal lexicon. Symbols & totems of one’s daily life. There should be no thought in regards to what makes for a veneer of hipness/coolness nor drama. It has to be things of you as you are, organically occurring.

An element of what made both Picasso and Braque abandon the genre they created was that it became too formalized. Towards the end of their involvement, for a piece to be cubist it had to contain specific objects within the pictorial landscape.  What had come about to create an artistic freedom started to become as rigid as any other preexisting genre.

Although it is not a steadfast method for myself with every piece, i draw & paint what is before me. I do not give any forethought to if it fits into any preconceived notion of how i want it to be perceived. It is something i do, i like, i see. My own visual language of my life.

This is an honesty and reality which is the best way to convey emotion regardless of subject matter.

I like good conversation and aside from drawing, that is my other constant no matter where I am in the world.

This is from the last short trip I took. I like to take a small detail of a larger scene of what I am doing and make that the focal point. The latch of a window, lipstick on a cup.This piece captures that although not in an obvious way.

A glass as we converse in lieu of portraying the sketchpad I was using, the language of me.

gougiereandconsomme

 

 

 

Poem

Watercolor & 7×10 Cotton Paper

Compelling works of art regardless of medium, allow one to return to them again and again without diminished enjoyment. Another point of pleasure is in the ability to find new things in a previously enjoyed work.

In painting, especially the representation of flesh, this opportunity is ever present.
I get pleasure from portraying not just volume and mass, but also creating a sense of depth on what started out as a blank white square.

While I could accomplish similar feats in representing say a piece of fruit, skin allows to for the suggestion of heat as in a blush, motion as in composition of limbs and what is hinted at in the purple-blue of veins.
For the viewer to come away with any sense of this after looking at my work is the greatest achievement for me.

 

Poem

 

 

 

Witold Lutosławski

Watercolor & Paper 5.5×8.520180304_144412

Music is my main source of inspiration. I do not limit myself in regards to what I listen to. There are some definite favorites but I am constantly exploring, pulling new things towards myself.

There is the desire to always be evolving as an artist, I want my voice to be recognizable but I do not want mere mannerisms. Aside from challenging myself in what & how I work, expanding what I listen to is another part of my method. I do not embrace something only to down the line drop it for something newer to me but rather use favorites as navigational points into where else to explore.

Stravinsky has led me to Witold Lutoslawski (1913-1994). I instantly enjoyed everything i heard by him. Like some of my other favorite composers, it is not something I can put on at just any time but when I do put it on it deeply resonates with me.

When I do a portrait of a musician or composer, it is interesting to consider if, someone viewing the piece not familiar w/the subject would see it in a different way than someone who knows their work.