She Knows

All the mediums which I work in are of equal importance to me. I get as much pay off putting pencil nubbin to scrap paper as an accomplished portrait. One of my biggest joys of which I never tire is portraying flesh via paint.

I never think in terms of “beauty” in the traditional sense of the word. Western idealized beauty very quickly becomes boring (same old-same old). I would rather an emotion which is real because truth is always beautiful. It is for this reason I largely prefer to work with people in my life as there is a trust there and they feel free to let their emotions be real in front of me.

For my painting I only ever use natural sunlight. I noticed at the start of this work that where the sun is when is starting to change. It appears the summer has snuck away.

“She Knows” 9×12 Watercolor & Paint

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A Million Ways to Die

For all my work regardless of medium, emotion is my main goal. One way to ensure this happens is fostering a constant evolution.

I received many great responses to my last collage and it is a personal favorite. For my next one, I knew that I wanted to do something as dense but also different.

I limited my color palette which I have done before but this time i went with darker, more somber colors. There is a return to a more outright sense of narrative in this piece too. The last piece was a beautiful scene but not story. To my core I will always be a city boy and now I have created another one to visit in my daydreams.

As with all my collages, there is no digital magic worked. I utilize the old school method of scissors & adhesive applied w/brush to photos which I personally took. (new camera for photo)

“A Million Ways To Die” 11×14  (the lines visible beneath pieces don’t mean anything , they were resting on piece scrap paper w/discarded sketch)

 

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Time of Legend

I have a pretty good rhythm going in what medium I use. Painting, collage..And regardless of what I am working or just finishing, drawing every night. Within each medium I mix things up to keep it fresh. Different types & sizes of paper.

More often than not I prefer not to give concrete explanations of my work. I would rather each viewer forms their own opinions as to what it’s about/means.

“Time of Legend” is not meant to be mocking nor satire. Originally I had imagined the skin to show more signs of sunburn but thought the splotches of angry red would serve as visual prompts for a program which I did not intend.

“Time of Legend” is about someone completely comfortable in their skin. I am sure that there are moments when the model has dark nights of the soul. Unhappy with his lot in life, angry and sad that he will never get the (beautiful) girl or some other type angst. But for this moment, he was satisfied and living the life.

I imagine at the end of the day, he goes home sleepy from the sun, his phone rings. One of his friends desiring the Joie de vivre which he brings with him to gatherings:

“Hey, what’s going on?”

“I just got back from the park, I had the best sausage sandwich, got some sun.”

“You’re a legend man..”

 

“Time of Legend” 9×12 watercolor & paper

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Face Dances: Assorted Tangos

I work within several mediums now. All are taken seriously, with none being considered second class citizens within my oeuvre. My favorite thing is to conjure up flesh in paint. Next on the list would be drawing faces. I never caricature the subject, doing a sort of raw reportage. This means I put in all the little imperfections of which I posses my share.  I do prefer portraying an extreme emotion. Unlike a potentially phony smile or the staid visage which a lot of us offer up to the world when aware of being watched, it is real. The real for me will always be beautiful. Regardless of what else I have done during the day every single night I draw too. One benefit of all the time I put into the pencil is that I have become fairly quick in executing portraits. This is a sample of evenings over past week or so.

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Two Tales: Vertical intoxication/Elation

I can fully appreciate nature. It offers a different kind of inspiration than that of the man made kind. However, I can only go so long without concrete under my feet and the smears of neon streaking the air like forgotten halos.

When based out of Europe some of my friends teased me about this but for them, coming to visit me was their vacation, so it’s understandable that they wanted to see things as would not be encountered elsewhere. A few hours train ride and you can get your fill of mountains, Forrest or ocean. I enjoy it for a day or two, all of it being bearable as I have my pencil in my pocket along with its accompanying little sketch pad.

Right by one of my Parisian watering holes they put up a plaque a few years ago for Poulenc, who had lived in the building. When all his peers were going to Italy, the warmer climes of the South of France & Brazil, he largely preferred to stay in Paris with the concrete under his feet and the availability of a place to stop for a drink every few feet. Now further inoculated against the good natured teasing I swim through the currents of streets and alleys which I could probably now do blindfolded.

“Ok, have fun in Giverny, I am around just working, drop me a line when you guys get back.”

“It’s going to be hot, you sure you won’t come, we can catch a later train.”

“No thank you, I am just working.”

One can not become a connoisseur of a thing without a component of snobbishness. It is an earned right though and so long as it’s not utilized against anyone else, is permissible. I like all kinds of cities and feel the better ones all have something visually to offer by way of inspiration.   The older ones, aside from their obvious architectural attractions, have their winding streets and the sense of happy ghosts. The newer ones, a vertical frenzy, which  when done right is a poem, when wrong (as is the growing case with San Francisco) a generic sprawling mess of metallic stalagmites.

I tried some new things with both these collages. Both are 12×17. As is always the case, I used no digital magic. My trusty scissors & adhesive applied by brush to photos which I took. Two urban valentines of a favorite city.

 

“Our Story” & “What Do You Need Two Lighters For?”

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Lola Wants To Kiss

I do prefer working on smaller pieces but I feel it important for all artists to leave their comfort zone as it fosters evolution. Pre pandemic I had bought several large hand cut pieces of paper in different styles (cold pressed/hot pressed/cotton etc) with no immediate idea what I would do with them.

This was my first time with this paper which is 22×30 hot pressed and not cotton. It handled very differently but I am pleased with the results. The photo taken was with my phone as to give the viewer the gist of it, the skin in person (or had i a better camera) practically radiates a heat of blood flowing just below the surface.

 

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Boo-Boo’s Birthday & Other Tales

Currently I am working on a large 22×30 painting. Before & after, i refresh myself by working on my sculptures and collages.  I received so many compliments on my triptych that I decided to continue my challenge/explorations by doing a diptych. I was curious what it would be like to work even smaller, so the two sections of it are 5×9. (smallest so far for me!)

As i continue to refine my technique I have found that I do not go about creating my collages in the same way right across the board. I have a few techniques which I switch back and forth from depending upon the size & images of collage.

Regardless of the size or images I prefer a density of composition & the feeling of an open ended narrative. This allows the viewer to return time and again to the work and find new things, new threads of thought.

My process is old school. I use my trusty scissors and adhesive applied with a brush. There is never any digital magic and I utilize images from photos which I personally took.

“Pinks, Blues & golds. Silhouette sprinkles, the lights all turn to cake. Good or bad everyone is committed to their midnight.” B-Day W.Wolfson

 

“Boo-Boo’s Birthday” 12.5×9 (1st diptych) & “What Do You Need Another Lighter For?” 12×17

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Stretching Forms

I am fairly new to collage. Although I had a small learning curve, I continue to refine my process. Once I feel I have it “perfected” I do not want to ever be mechanically go through the act. To keep things fresh I give myself little challenges, or in lieu of that set out for uncharted (to me) territories.

A friend of mine is really into triptychs, so i decided to give that a try. each section of it was 7×10. I was very pleased with the results. The small book I got as to be able to collage when on the road finally came out of quarantine and  I got to try my hand also at working small. These two collages represent firsts for me. I am very pleased with the results. As with all my collages the images I used are from photos that I personally took. I never work any digital magic on them, merely utilizing old school methods of scissors & adhesive applied with brush. Most of my collages are available as prints on my satchi page.

“Triptych” & “Manual Style #1”

 

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Blue on Blue

I wanted to make something beautiful but which also gave the viewer no hint as to its size. I will always eschew the standard poses and traditional idea of beauty. It is boring and all blurs together. For me, the real will always be beautiful. A true emotion, bodies and flesh as encountered in everyday life.

This piece is 5×8 Watercolor & Paper “Blue on Blue”

 

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Two More Tales

I think one of the most important challenges facing an artists in any medium is to establish their voice. Fame, power etc is relative and at best a side effect. I want a recognizable voice but to never lapse into mere mannerism. One way to avoid this is to foster constant evolution. This does not mean one has to reject whatever chops or artistic mission they have established. Leaving your comfort zone of established methodology shakes things up and prevents any sort of procedural laziness.

Another important facilitator is venturing out past established influences and inspirations. Music is my main source of inspiration and while i have definite favorite touchstones which I will never abandon, i also constantly explore. A dormant aspect of creating for many artists now is an openness past what they know and like.

With my collages, once I realized how much i liked doing them I started refining my process. Then I tried challenging myself by changing the size. Further dialogues with myself, and I realized I wanted to be able to do them on the road. I figured out how to do that. I do not want my collages to be enjoyed but also with the underlying sense of “seen one, seen them all”. To keep things fresh I continue to change the size, not eliminating any (sizes) from my repertoire. My two new current challenges are to do an intentional linked series “Boplicty # 1-?” and a triptych.

All my collages are made with images of photos I personally took. I use no digital magic, just my trusty scissors and adhesive applied with a brush. I want to give the viewer a sense of an open ended, dense narrative.

“She Said” & “Flacco Arrangement” 11×17 inches

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