Victory

I do not often paint large pieces. There’s a completely different physicality involved. The way I have always worked, when I see a piece in my head before starting out, included in this vision/conception is its size. If I envision it small, it’s not merely a matter of using larger paper to make it big. I can only make a thing as I saw it in my head.

With Victory I saw it big.

I enjoy the challenge of leaving my comfort zone. Most of my paintings are 11×17, this one would be 20×30. I have a large wooden easel. It has heavy brass machinery. I pull on a loop below the ledge upon which the canvas sits to raise or lower it on the wooden axis. There is a wooden crossbar on the bottom which connects the two front legs of the large tripod.

While painting the lower section of the piece, I sit on a stool leaning forward. My feet rest on the crossbar. It feels as if I am on a ship, brush in hand. Seas calm, seas stormy, call me Ishmael.

Victory 20×30 inches watercolor & Paper

The Other Side # 4

This is part of an ongoing series which also includes some graphite pieces.

As is the case with all my works regardless of medium, I want the viewer to feel something. What, is entirely up to them.

Watercolor & paper 5×8

everyone is the hero of their own story.

Maggie

I had been in the middle of a full sized CinefieldĀ® when my computer of six years gave up the ghost. This rendered my needed printer into an expensive paper weight. I switched to doing a painting. This is 11×14 watercolor & tan paper.

“Maggie” 11×14

errata thought on the elderly: In media & especially television, a shorthand for “old people” they often will reference big band music (usually Duke Ellington or Benny Goodman). A few Rolling Stones albums just hit their 50th anniversary mark. If you do the math, an “old” person was not swinging their gal arround on the dancefloor to “Take the A Train” but rather Hendrix’s electro lament for a decades turmoil & new found freedoms.

Paris Painter 4 : Like Sonny

Lyra water soluble graphite sticks have become one of my favorite mediums. That with a brush and pocket pad and i can do painterly pieces even when sitting at a cafe table. And I need not sprawl out taking over the table. I am also able to maintain discretion as I would hate to be like one of those people stateside who feel it necessary to go to Starbucks to show everyone that they are “writing”.

Aside from fully realized works, i continue to woodshed, hands, feet, whatever is in front of me. It is akin to a musician practicing scales. Both Renoir and Matisse when in the twilight of their years said something along the lines of it being a shame that they did not have a few more years left as they both felt that they were finally starting to get it. Coltrane before and after a concert or recording session would still put in time practicing. This has been my overall approach too. Regardless of how my day is spent, an hour or two at night woodshedding.

I do not go for the outwardly dramatic thing in my sketching. I let the organic truth of whatever the thing is create the emotion. A sort of raw reportage without any preconceived agenda. All pieces are either 3×5 pocket pad or 4×4 pocket pad. My 3×5 pad has circled the globe with me more ties than I can count and is always besides my bed or in my pocket during the day no matter where I am in the world.

How it began

Selfie

Kini in Cap

The End: selfie freaked out & tired @ Heathrow

Paris Painter 3 : Man About Town

This season, I was really able to trim down the amount of equipment I brought with me. For painting, I had my custom cut 4×4 in both standard white watercolor paper & brown multi media paper. The plan was to buy a standard block once here.

I actually enjoyed challenge working small, and people liked the weird hanging chads too. So I decided to stick with it, forgoing other paper.

With smaller paper you have less space to create tension & release. The density I prefer in my compositions also trickier to achieve.

Here is my portrayal of flesh which I never tire of doing, a night scene trying to show shadow without blatantly showing darkness of a room and detail from a favorite statue in The Luxemburg gardens. All are 4×4

Paris Painter part 1

Finally able to get back to my Paris studio. In general I’m always tweeking my road gear. Post pandemic, I’ve done some shorter trips but nothing with logistics of returning to Europe. I had no idea what to expect of others in regards to behavior while en route. With this in mind the lighter I could make my bags the better.

I have a great new notebook. It’s refillable and utilizes the disc system. What’s different about it is that the discs are inside the cover, so I can put it in my pocket. I bought a cutter which allows me to refill it with any paper I choose. I saved space by creating good sized pad comprised of watercolor paper, regular sketch and tan multi media.

I have several great arts stores around me so I will eventually get normal sized paper too. This is my first painting. 4×4.

While getting here, there were times of great crowds of people but thats nothing new for international travel. I didn’t find the vibe any different than normal. Regardless of rules, many people masked up. As the tips of the plane’s wings sliced off the edges of Grey silver clouds, I mused to myself. Masks.For me,it’s not about political affiliations, what happened to the concept of sometimes having to do a thing you don’t want to. That’s called being an adult. Truly, your life has not been too bad if having to mask up is the worst thing that has ever happened to you.

Why So Cereal

“You made me beautiful” she said upon seeing the finished piece.

It was, but I just painted what I saw. With all my portraiture I go for a sort of raw reportage. If I see it, it appears in the piece. I never airbrush out (so to speak) any imperfections nor do i exaggerate any by way of settling scores. To me, all truth is beauty.

I always want people to be able to return to a piece and see new things. This is why traditional beauty has always bored me. The little quirks and imperfections make it real, make it interesting. The organics of a piece is often helped by only using people I know as subject matter. The trust allows for natural body language and facial expressions. There are some great yet unknown painters out there whose work’s power is diminished by coming across as overly academic or all the cheesy glam poses. I don’t worry about the beauty aspect, but rather the realness.

This piece is 11×14 inches. Watercolor on brown paper.

The Other Side

I draw every day, no matter where I am in the world. When on the road, at the very least I will do quick guerilla sketches and woodshedding in my ever present trusty pocket pad. Of late most of my formally done works switch off between CinefieldĀ® and painting (during the execution of which I will still woodshed every night).

A new painting had been started but then it rained out every day with the forecast calling for the following week to be more of the same. I only use natural sunlight to paint by so this was not good for me. I put the painting aside and went on to start CinefieldĀ® Where the Sauce is Deluxe. Between the weather and how labor intensive that piece was the painting sat untouched for four weeks, something I had never done before.

When I went back to work on it, it felt strange initially but I quickly found my rhythm. I am very pleased with the piece. Although I always end up over the course of working on a painting having to let it dry a day between coats. As matter of personal preference, I was not a fan of having a piece left untouched for that long a duration.

The Other Side watercolor & paper 9×12 inches

Another song About a Girl

Once again I tried to change things up a little. I used a heavy stock brown paper 11×14 inches landscape oriented.

Throughout my oeuvre I had done paintings of close up of body parts. The challenge of this to varying degree is that if one does a super close up of an arm or belly without the outline of limbs/silhouette, it’s not necessarily easy to know what as a viewer, one is seeing.

Without visual guidelines, it’s tougher to show volume & mass of a body. This is one of the challenges I enjoy. If I can make the viewer feel the curve of a part without showing the edge, then it’s “easy” when doing an entire body or section.

Another aspect of this which I enjoy is that even when really nailing the volume and mass effect of the skin, there’s a sort of abstract property to the piece. I like the concept of a viewer enjoying these types of works just for the colors and effects rather than the “Does it look like this person?” aspect which can occasionally be a distraction. This piece is not as tight a zoom as I sometimes do for this type of work.

Another Song About a Girl 11×14 Brown Paper & watercolor

Some Girls

I had many balls in the air these past few weeks including my first smaller trip outside of the city. Slowly, I worked on a painting where I tried a few new things. I am pleased with the results. The camera i had gotten during the pandemic as to be able to properly capture my work ended up being more of a nemesis than help. Despite having done all kinds of research beforehand, it was only after the fact i found out how notoriously difficult that it was to use. I sucked it up and went for a consult, the store owner was helpful, not trying merely make a sale. I ended up with a Sonny which is amazingly easy to use and feels good in my hand too. This is first painting i have used it on.

“Some Girls” 9×12 watercolor & Paper