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.

 

 

 

 

 

Simmer D 2

Fairly soon after the selfie became part of North Americas’ cultural heritage (along w/Netflix) word spread from those “in the know” of the ideal position of the camera for a selfie (slightly diagonally above the head angled down from the left).

Social media and personal pages are now a glut of girls & women falling between specific ages regularly posting photos, bodies semi twisted to the side, camera in the now familiar angle, mouth forming the assumed to be sexy duckbill.

There is now the male equivalent of “the pose”

I was watching television. An I-Phone commercial came on. It showed a young collegiate in shorts on break at a beach. He went to take a selfie w/the surf at his back. He tilted his head to the left and partially opened his mouth in the manner of the beginning of a smile. (he might have also given a thumbs up, if he didn’t literally you got the feeling he meant to)

The show merely worthy of folding laundry to came back on.

The next commercial was a fit middle aged man w/silver hair . The advertisement was for a travel service where you can compare hotel rates and do specific search comparisons (i.e with a pool et al).

He then went on to say that it was how he found his great room w/an ocean view. A blue screened view was behind him as he raised his phone tilted his head sideways and half opened his mouth, start of smile, thumbs up and click.

What had been “ideal” poses are now hackneyed and overdone. While technically it may still help hide the start of a second chin or other imperfections that can’t be wished away, there is a sameness to all these images which renders them devoid of any flavor and personality.

We can now laugh or roll our eyes at the overly familiar poses. It will never go away though. It has become the standard.

Figurative art has its own version of these phenomenons.

Whether it is painting or drawing, i like to use amateurs as much as possible. The main reason for this is their manner of posing. I want natural body language. Emotion is the most important aspect of my work and the first step in achieving this is  honesty.

When faced with the task of posing for an artistic picture, what can rob it of its power is the subject striking a glamor or traditional pose. The traditional figure poses are still utilized in schools and classes. No matter how good the painter, it will always give the work an academic air which robs it of really compelling the viewer.

Glamor poses by their very nature have an artificiality that is to emotions what porn is to romance.

The pose of the subject also effects the composition of a work.

I reject the academic but also (sometimes) the “correct” compositional lay out of what the viewer sees where.

I like to think that most of my work conveys the feeling that the viewer is seeing a part of a story or a small self contained story. Some of the odd angles and unorthodox compositional balance bolsters tension & emotion facilitating this.

In real life when looking at someone, whether it is one table over in a cafe or laying on a couch, we do not necessarily see all of them or all of them in proportion.

To some who have formally studied or taken classes, unless doing a specific exercise it may seem awkward or counter intuitive  but it is well worth finding new ways to visually tell the story of a subject’s body besides the tried & true.

 

“Simmer D 2” watercolor & Paper 5.5×8.5

 

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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

 

 

The Stripes Are Black

Watercolor & Cotton Paper 7×10

When I initially started doing portraits I would paint whatever was going on in the background of the subject, the room. While I still do that sometimes, at others I reduce it down. The mattress/bed etc will just become the color of the sheet or the wallpaper.

My choice of color in these situations is whatever the actual color is as I feel it part of the story I am portraying. Green wall w/bookcases or whatnot becomes green square in which the subject is enmeshed, all other objects dropped away.

 

The stripes in this piece matching up w/the shirt was not a contrivance but lucky happanstance. I did change their color from black to blue as I felt the black gave it an air of :

I have compositional weakness and so inserted stripes to help fill up space.

 

Others might not have thought/felt this, who knows.

 

With my drawings I still mostly portray what else is going on besides the subject. Paintings it is a piece by piece basis.

 

 

 

Cuba

Watercolor & paper 5.5×8.5

 

The best artwork in any medium we can return to over and over again. We find new aspects revealed in it.

The work seems to, with the passage of time change. It is not the work which is ever in flux but ourselves. Better works have multiple layers of enjoyment  and so seemingly keep up with us on the evolutionary journey of intellect/taste/spirit.

With my work, this is why my main goal and raison d’e tre is conveying emotion. No matter what the social mores or trends are, we all will continue to feel sorrow & ecstasy.

 

Cuba

 

Piece # 3

9×12 Watercolor & Paper

This piece was done on Canson mix media paper 98LB

It was the third in a series with this model.

With all my portraiture, I always want an organic feel which starts first with the subject.

In lieu of the academic or glam poses, I want the subject’s natural body language to come through. This honesty makes for a conveying of emotion which is the most important aspect of all my works.

I never choreograph a pose, my only input having to do with if I feel the light is not hitting the subject evenly.

This paper, although intended for among other mediums, watercolors, requires a different touch than any of the other types of paper I use for my painting. It is harder to use, which is why I like it. If I can achieve the desired effects with this paper, then when using my ideal (paper), it is far easier.

These little self challenges are one of the ways I foster evolution in my art and avoid lapsing into mannerisms.piece3

 

 

Bee Curtain

She repeatedly stuck her tongue out for almost every piece that she posed for. It was not my thing and I believe that she was thinking of someone else.

With every person that I draw/paint/sketch I aim for a truth but only a truth of that moment. What they look like, their likeness there and then.

The same person appearing over the course of several (or many) pieces may look slightly different each time.

This is a phenomenon naturally occurring in real life. Me sitting next to you in a car going down the highway will look different than me sitting across from you in a cafe etc etc.

This has to do with the effects played upon the subject by mood, health and ambient environment.

I avoid photo realism which to me can be flat, in favor of it looking like the subject but as occurring in art.
Where once this was the de rigeur , in the digital age this is all too often forgotten. We want an exactness that is the camera’s job not the brush nor pen.

The dynamics between artist & model is as if the artist is talking about the model using their own words (words being their style) and hands.
W.Wolfson

Bee Curtain watercolor & cotton paper 10×14

 

beecurtain

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.