Two Tales

I have always felt that one must have constant inner dialogues, even about things which are already known or established. Further articulation can give more or new ideas in regards to the thing, a jeweler sculpting a gem of thought.

There seemed to be very little learning curve for my collages but I continued to refine my process while also feeling there is always more to learn. An important thing for all artists in any medium is to leave your comfort zone and put aside established methodology. Having to leave the comfort zone fosters evolution and creates stronger chops.

These two collages are both 11×17. I have switched to a wonderful adhesive which allows the actual collages to last (as opposed to initially when only prints of them could be sold) I still do not use any digital magic, Just scissors, adhesive applied with a paintbrush on photos which I took myself.

“Edging Her Bet” & “Threesome”

 

edgingherbetsThreesome

Erratum: I am fairly new to the blogging world. A few observations which may help others out.:

Everyone is blogging for different reasons, some just for fun others with professional aspirations. If you are doing it as more than a way to constructively kill time, spring for the add free version. You could be writing or showing the most inspired content and then in the middle of your efforts is a toe fungus or travel ad. If you were going to job interview you would wear your best outfit to show your seriousness, same idea.

Regardless of why one is blogging, it comes down to wanting to be seen/heard and connect with an audience. If you fire off several posts a day, unless you are H.L Mencken, it is too much. Most people are following AT LEAST a few hundred others. This means you are faced with constantly checking your phone as someone will always be posting or if you set your preferences to receive weekly updates you suddenly have one day (at least) a week with hundreds of emails. It becomes akin to having several televisions on at same time, a sort of babel. There is no way you will be connecting w/as many people as you would like as posts get lost in the stream of non stop deluge of content. At some point the pervading wisdom was “shoot enough bullets into the air you will hit something” Maybe at very start of everyone being on social media but not now. Less but better crafted posts will ultimately do more for you than machine gun approach which as the number of people on e follows grows, becomes too much.

 

Collage

There is a lot of precision in my drawings & paintings. I have always been serious about my sculptures but those are of a completely different process. They are largely improvised on the spot using whatever materials I have around. Often, they are not meant to last.

Collage is fairly new medium to me. They fall somewhere between my paintings & sculpture.There is an element of surrealism in them that does not appear in my work of other mediums. Ahead of time,  I always have in my mind the composition but i also leave room for some improvisations.

My first collages were really large 22×30 inches. They were not meant to last which made it feel freeing. Eventually being all the remained, the photos of the work would themselves become the art.

I used glue sticks and scissors to create my works. With my paintings, they need few days to dry. With the collages as soon as I was finished I needed to snap some photos as pieces would begin curling, bubbling or falling off.

Right out of the gate i got the same feeling of serving the process I get in creating my other works. People were interested in obtaining the actual pieces and not just prints/photos of them.

I invested in several pairs of good scissors and started using adhesive which also coats the works surface as well. In reading up on adhesives I found there is controversy over where images for a collage come from. Depending upon the  country, there are things which are illegal or if not that then despite semantics, a jerky thing to do. Were my images to be lifted I know that I would not be happy about it. This brought about my decision to largely use images from photos which I myself took. An added advantage to this is that it often feels as if collage is not taken as seriously stateside. Collage seems to conjure up images of of someone with nothing to do clipping pictures out of magazines while watching television. Using my own photos bolsters the legitimacy as art form and not mere hobby.

Painting, sculpture, collage, it is never an either or for me. All are part of the whole. I do find my painting helps my achieve more volume and mass in my collages. Now, all my works cross influence and inspire each other.

For drawing I constantly change up what equipment i use, the idea being that I can create work when on the road and in under far from ideal situations ( a waitress’s pencil, the back of a paper bag et al) . A lovely letter from someone compared my collages to jazz. This planted the idea in my head to start doing smaller sized collages as to be able to do them on the road.  I could do them all in pages of a nice notebook, initially using easy to travel with glue stick and applying adhesive once back home.

I enjoy going for the density of composition, which I prefer in all my works, without letting it get too muddy and reduced to visual babel. The initial challenge of achieving this in smaller collage was great fun.

“Xavier Amin Dphrepaulezz”

22×30 inches
We are all living under a fluorescent sky temporarily. To stay productive is a huge help. Anyone who can create beauty, now is the time to do so as a reminder of what we will eventually return to. I named this piece after composer/musician (a.k.a Fantastic Negrito) whose work mixes a deep soulfulness with the lament of the blues and some funk.
Composition wise I utilize my preferred density regardless of medium along w/the feeling of a sort of open ended narrative.

 

20200411_105920Xavier Amin Dphrepaulezz

“Self Portrait” 11×14

These are all photos I took and my first smaller collage. I was very pleased with the results.

WWolfsonSelfportrait

 

Paper

I had unintentionally lucked out. Where I lived in Paris had five art supplies stores all within a five to ten minute walk. Each was good for specific things.

One aspect of all which was nice was that each was for working artists, this was reflected in the pricing, quality and selection. All the places were “historic” except the one closest to me. This one was still good though, it just meant the Soutine had never bought his pencils nor charcoal there.

All the staff at each place are artists themselves but they are almost shy about it. There is none of the (sometimes) overbearing networking as occurs in North America. I became Pals with Quintin. He finally showed me some of his work. intricate ink on paper works. I did not just offer up the small talk compliments but discussed technique with him which cemented our friendship.

After that, for years, every time I went into his shop I would get the sale price plus employ discount on my basket full of stuff.

A few years ago I went in early in the morning on my way to an afternoon of sketching and heavy lunching. We chatted and at first he seemed distracted but after a few minutes of talk it became clear it was more a type of embarrassment.

He was going to follow a girl he liked, really liked, to Ibiza where he would also work on his graphic novel. It was unclear if they would take him back on the staff when he eventually returned to Paris. I should load up as much as possible now as to take advantage of the deep discount.

It was the end of an era. Most likely a mistake on his part but that and/or an over earnestness is right of passage for youth as they find their way. I put things in my basket, he handed me blocks of watercolor paper. Seeing me doing math in my head, assured me not to worry about it.

Standing at the counter i knew to let the woman behind me go first, feigning to have forgotten something.

We were alone now, we shook hands. He turned around and grabbed a bunch of stuff off the backboard which he put in my swollen bags. Shaking hands, we exchanged information.

Back in my studio looking at all the stuff he gave me, I was pretty sure they would not be having him back. I had blocks of 7×10 French cotton paper which became one of my mainstays. I had so much of it that it lasted me several years.

I am constantly, from piece to piece switching what paper I use as it keeps things fresh. I do not know how it works for others but in my head i envision a piece before executing it and this vision includes its size too. This has kept my piles of paper dwindling but at a leisurely pace.

Despite plans already solidified, shelter in place finds me on the wrong side of the ocean, Paris right now for me as for most, just a magical daydream. I am very fortunate to be able to continue to work though. My stateside studio has taborets full of supplies.

Since I am going to be around, as i mulled over a new piece I carefully emptied them as to dust inside them. Something which was more busy work to contemplate by than actually needed. To my surprise I found that I had finally reached the end of my Quentin paper! It is all right I have plenty of other paper but this was, for me, the best cotton paper.

I decided to get a new paper to try, a 9×12 non-cotton paper. Right off the bat I enjoyed using the paper. It handles different from my French cotton paper but still enjoyable. Using the new paper, despite all going on, I get that familiar pleasure of serving the process & my craft. I hope Quintin is on some Spanish beach with his hippy chic drinking wine and looking out at the sea, I hope that I find myself walking around my arrondissement sooner than later.

 

“Blue Pillow” 9×12 Watercolor & Paper (new paper)

“Hand Selfie” 8×5 watercolor & Paper

 

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Fa-Flex

The propaganda aspects of a lot of renaissance art has been lost to the more casual peruser of paintings and sculpture. The shorthand of what they were doing has now become that Michelangelo, da Vinci et al were presenting the physical ideal. The ideal being equated to something to strive for regardless of its impossibility.

Part of the magic of painting which started with the immediate precursors to   impressionism (Courbet, Fantin Latour, Millet) was that they were begging to slowly move away from the subjects when not a still life or landscape being restricted to  those of myth, biblical or historic. The heroic, idealized.

When the Nazi occupation of France became inevitable there was a scramble to get the high profile residents, thinkers, politicos and artists to safety. Matisse was on this list. At the last minute he backed out of fleeing, saying:

“If everyone who has any value leaves France, what remains of France?”

After the fact asked to expand upon what he meant in greater detail he cited culture not personality as what he had been getting at. If the abstracts which gives us pleasure, define us and add to us are gone then what is the point?

Unfortunately in current times art and culture by default often is associated with an elitism. Art has a duty, not in the sense of promoting a message or agenda though. Now is the time for any who can, to create something of beauty. And if you can’t, it is of equal importance to appreciate and enjoy it.  The purpose art and beauty can serve now has changed since the renaissance. None of it should be tied in with any sort of “ideal”. It represents something not necessarily perfect, an impossibility to be striven for but rather something outside of ourselves, the “I” becoming part of a greater whole.

This should bolster the thought that no matter how bad things get, we all have to live with ourselves when it’s over and back to normal. Paraphrasing Matisse’s train of thought, to lose what we value about ourselves as a society just to stay around, well what would be the point?

W.Wolfson 2020

“Fa-Flex” Watercolor & French Cotton Paper 7×10

 

Fa-Flex

 

 

Dorothy Dreams of an America Gone

Most of my pieces are only 11×14 at the biggest. I have begun to branch out doing the occasional larger pieces. The main impetus behind this was wanting to leave my comfort zone. To always work in a manner in which one knows they will succeed is to risk lapsing into mere mannerism(s).

I have also started to delve into doing collage. It is a new medium for me but one which I already really enjoy. I take it as serious as the rest of my visual work. I go real old school, utilizing scissors and glue stick and photos which I took, eschewing any kind of Photoshop magic.

An appeal for me is that I can achieve the density which I prefer in my work along with a sort of open ended narrative.

This is my second piece

Dorothy Dreams of an America Gone 22×30 inches

Dorothydreamsgoneanerica

 

 

Blue Pillows

With my work, I prefer a certain degree of density. The great thing about watercolors is that they allow for this density but in conjunction with a delicacy inherent to the medium.

Often I like the viewer to feel as if they are ease dropping upon a scene. It ads to the emotional cadence of a piece to not have anything explicitly spelled out. When walking through Paris, one will see these little vignettes play out in endless variations, their true meaning unknown to all except the direct participants.

It is a give and take as equally, I have found myself a player on this urban-impromptu stage. Being watched as I lean against the balcony railing, doing dishes in the back-facing kitchen or sitting up late at night reading in bed, mine just another square of light and gentle activity among the mosiac.

This piece is 9×12 watercolor & multi media paper.

 

bluepillowonebluepillowtwobluepillow

V-Lot 1311

A contemporary thinker & social theorist has said that a big problem with society (North American) is that most people’s idea of happiness has strictly become when things go their way. This seems to reduce down joy to a sort of effortless achievement whose main prize is not being bothered/challenged nor reprimanded. This mindset also eliminates the possibility  of simple, spontaneous pleasures, such as a good conversation, cup of coffee or unexpectedly discovering some previously unknown work of art which resonates.

Another contemporary  thinker said that we all must allow ourselves to be bored. He himself had come up with some of his best ideas waiting for a train or doing some of life’s other mundane but necessary tasks. In being bored one’s mind is not taken up with the immediate things to be done or superficial distractions and can wander. Without being preoccupied by the “must(s)” there is also more of a receptive aspect to contemplation.

Two ideas which call for the cessation of immediate, effortless reward.

As easy & beneficial as letting oneself be bored is, more & more society is regressing back to childhood en-masse. Most can not stand in line for the two minutes in at Starbucks to get their coffee without massaging the screen of a device with fingertip.

I like traveling but not the logistics of it, all the time tables not of my own making which must be rigidly adhered to. The seemingly endless waits when en-route. I will admit though, when forced to wait as is required when on the road, i have eschewed digital distractions and come up with many ideas for later use in my works.

There are trips with destinations that I do not like but must go to. This is almost like a concentrated form of allowing oneself to be bored (or miserable). As even in this , there is often fuel for my work.

I just returned from one such trip. While on the road I did work with which I am pleased. Once home, ideas I had while away inspired some further works. When going through a bad time on the road, while it is happening it is unpleasant but once out of the experience it can prove to be a currency of sorts. Even if you are not an artist, give yourself the occasional gift of being bored.

V-Lot 1311 colored pencil & paper 11×14

 

VLot