Dior Glasses

There is a pleasure to exploring when on the road. A different but equally satisfying thing is to have places all over the world where one is known, a regular. This is a self portrait of me at one of my favorite places while on the road.

Watercolor & Multi Media Paper 9×12

 

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Caro Diario

On the road. This paper was just laying around. Although it was generally being put to use as scrap paper, it is landscape style. It was nothing fancy nor great but I decided to improvise part of my trip diary on it. It is not whether something is frame worthy or selleble but the process itself which brings me joy and is the personal payoff for me. I was pleased with the results.

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Mis-Beckett(ed)

The best art in any medium has the effect of feeling extremely personal to each person who enjoys it even as it touches a multitude. Everyone has “their” author/painter/band/musician. This thing is recommended  to friends or in general conversation akin to how a proud parent talks of their child.

We all make totems of artists & their work. The more levelheaded ways are when we associate it in to the memory of the place/time/person(s) of first discovery. The work/artist can serve as inspiration or a brief respite from daily life with all its mundane commitments.

This is all fine so long as an audience keeps in mind that, although it may not be broadcast, the artists has an intent or idea behind the work which is the absolute truth beyond what one may make of the work. Its true meaning and intent.

Samuel Beckett has always been a favorite author of mine. His work often possesses a density whose meaning on the surface may seem a little open ended, but which is rarely the case.

Anyone with boho or intellectual leanings knows of Waiting for Godot. As for the rest of his work, with the advent of social media Beckett is often reduced down to bumper sticker aphorisms. This reduction is made worse by how often orphaned from the rest of the text, the use and meaning is wrong.

I was once again reminded of this via twitter which is 40% people posting quotes & material by others as to assert their individuality, 40% memes/gifs also by others and 10% original material.

It was the end of the night so I decided to peel off a portrait of Beckett. I used a Blackwing Palomino pencil I wanted to show the depth of his eye sockets and crags without having to rely on heavy shading. This pencil always lends a graphic feel to the work but also allows for volume and mass to come through.

9×12 Beckett

 

Beckett

 

 

Face Dances

For Sharon Anderson

I had an acquaintance in Toronto who fancies herself a shutterbug. She walks all around the city snapping photos of whatever catches her eye. She does this on her own, with friends and as part of an informal group.

The city has some vibrant graffiti and murals. Someone had done one of Prince, which she snapped a photo of. Prince as he was in the first flush of mega-stardom, decked out in the white ruffles and purple sequenced jacket. The problem was, it looked almost nothing like Prince. The outfit was correct and served as a visual clue:  “you are looking at Prince”.  Had he had no shirt on (or a different outfit) as occurred in some promo photos and videos, then no one would have had any idea who it was.

A lot of stars, especially artists,  have one or two  images  ingrained in the public’s conscious. This is even more so for musicians of the pre Instagram age.  Record companies, Dj etc all had to have the promotional photos/packs. The publicity photo a pre requisite but not too often updated. Jim Morrison is forever fitting into his leather pants, shirtless or with white pirate shirt, starring back at the camera as he wonders whether it is all worth it, forgetting that Rimbaud gave up poetry to become a white slaver. Jimi Hendrix is caught up in a spider’s web of bandannas and clashing colors as he lights Monterrey Pop on fire. And Prince had the ruffles at the throat and purple sequenced jacket different in color but similar to what Pete Townsend, light years away stylistically from the purple one, wore in the sixties.

So much rock was born out of rebellion, which is why every generation still holds it dear. Lazily resorting to visual shorthand of well known outfits reduces them down to a sort of uniform, very anti-rock (rebellion).

The best art tied in to musicians/artists, they should be recognizable in a different outfit or even just the face.

What makes for an even more worthwhile work is not their recognizably but rather does the work radiate an emotion which in turn makes the viewer feel something. The handicap of doing the visual shorthand of obvious outfit is even with some of the better works, you are freeze drying the emotion(s) to what was offered up in the photo. All photos are the souvenir of a dead thing as the moment has come and gone.

Faces, not necessarily of famous people, have always called to me. To conjure up a face on paper is an important part of what I do. Emotion coming through is the most important facet of what I do.

Here are several faces, done on different types paper. The inherent properties of the papers adding themselves to my voice like spice(s) to a stew.

All are 9×12

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Burlesque

I am not one to accumulate clutter but had a few boxes to go through before moving my studio back in November. I came across a really nice digital pocket camera. There were actually still some store/factory stickers on it which excitedly proclaimed how many mega pixels it was. Impressive for then perhaps but the average cellphone of even five years ago had it beat in the mega pixel & zoom department.

Everyone has a camera now via their phone and i can not remember the last time anyone i know packed a separate camera in their bag when going on the road. Speaking in the most general terms, there is often at best a generic beauty to the better taken photos. Rarely is a photographer’s voice discernible.

This is because the better photos, the heavy lifting is done by either the equipment or location. There are to be sure some contemporary photographers with a worked for voice but they suffer from the fact that digital equipment has made them easy to parrot in much same way that phones now have apps to make ones photos look like an Andy Warhol (et al ) painting.

Cameras have effected how people look at other art too. Now they look at it as if a camera themselves.  A camera takes in all it sees in one fell swoop. It is a disinterested eye devouring an entire scene without chewing, the interest only existing via the photographer’s eye. This inherently lends an emotional barrier to the medium.

With painting they eye can take it in, nibbling in small incriminates, beginning at any point on the canvas.  With the passage of time new things can be noticed. Paintings have the ability to grow with the viewer. Living right, with evolution, none of us are the same person today that we were a year ago. A painting can take on new or added meanings for the viewer.

When the subject or viewers look at one of my pieces, the first thing noticed or commented upon always differs from person to person. The joy of viewing a painting is a very individual act regardless of how well known a piece may be.

I do not strictly do portraits but it is one of the things in life which gives me the greatest pleasure. Once an artist finds and perfects their voice there is the danger of lapsing into mere mannerism. It is one of my prime motivations in constantly mixing it up with what equipment I use.

For this portrait, i knew that I could execute it in such a way that it would please me. In my head i saw the correct background color to go with etc. I am very fortunate that with some of my work i have the luxury of no deadline and freedom to experiment. It is crazy for me to not do so, as in worst case scenario, I just throw a failed attempt away.

I realized aside from some minor flourishes of sunlight upon a cheek I had never done a piece show effects of lights on a subject. My experiment was to portray this effect and ignore what i knew to be all the “right” choices in regards to color.

The subject is under colored lights of a club. Hair dyed by the lights which also play upon the skin in splashes. I choose purples which aside from minor flourishes i rarely work with.

The paper is mutli media paper. This style paper has very different properties than the French cotton that I use. It requires a different technique to achieve the volume and mass effects that I desire. Multi media paper from brand to brand also possesses different properties from one another. When dealing with the different brands, i would not say that there is a “best” but I have found some work better with different colors than others due to pigment properties.

This is 98 lb which makes me work a little slower while layers dry, without the wait seeming interminable. I was very pleased with the end result, achieving all the effects I wanted.

9×12 Watercolor & multi media paper 98lb

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Val-de-Grâce

I used to work with pastels before seriously taking up painting. I greatly enjoyed the process but the pieces largely lacked the density, volume & mass that I prefer my work to posses.

Once I had obtained chops with my painting, I saw how I could have achieved the desired effects with the then abandoned pastels.

Like a lot of art things which become part of me/important to me, i fell into using colored pencils by complete happenstance. My painting showed me how to get what I wanted out of them much as it would have with pastels. There is a dichotomy to using colored pencils  in that to get what i want out of them, i need to concentrate while also utilizing a looseness which I avoid with my painting.

For subject matter, rarely do I do portraits with colored paper. I prefer instead landscapes and cityscapes.

I prefer to use colored paper, either gray or brown. I vary the size with the largest being 9×12. I intentionally limit my color palette, each piece only mainly using varying shades of three colors with the tiny splash here or there of  seemingly “wrong” colors. This i equate to the dissonant notes sometimes employed by Prokofiev and Monk.

Technique and conceptualization of colored pencil pieces are very different from my paintings. Having to utilize different approach & technique adds to how I think about painting. Aside from enjoying the process in itself, this gives it great value for me.

 

9×12 Val-de-Grâce

 

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