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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Rochelle

A painting of a woman (or anything) is not a woman but rather a thing unto itself, offering up an emotional pay off not limited to the specific real life moment of the subject. The subject is merely the starting point. Art allows for a great myriad of feelings to come forth, more  than a photo. Onion like in layers, of emotional cadence, there  is also the injection of the artist’s voice to the subject. This allows a viewer to return to a piece multiple times, finding new things and creating a different narratives in their head.

Emotion should not strive to encompasses any type of perfection, the same with beauty. I always aim for a truth in my work, honesty inherently being beautiful. Emotion, even the seemingly “negative” ones appeal to me to portray for this same reason.

This is my third tan paper piece. I was very pleased with it. It is my voice, the same effect as a musician switching instruments to play a different type of song.

“Rochelle” 9×12 Watercolor & Tan Paper

Rochelle

 

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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Ils s’appellent zabbahdoo 2

I greatly admire the work of Jenny Saville. I was given one of those huge, beautiful coffee table books on her work. She works in a very different manner than I (this book was not of her recent work, so I am only speaking of this moment of time, no idea if she has changed). For some of her portraits, she would take photos from medical books of grimacing mouths and use those for subject’s mouth as opposed to just painting the subject’s mouth as it was. A lot of portraits in the book were pieces where the subject looked as they are in real life but a lot of the attributes were Frankensteined on from other source material.

I have no desire to work in this manner, i do not know that I even could. But, it did inspire me to do another of my close up portraits. One of the genre of portraits I do is a compositionally tight shot so that it is not necessarily immediately apparent what the viewer is looking at. One of my great joys is in portraying flesh in my works. With these type of portraits, it forces one to really nail the effect as the viewer does not have the usual visual clues which serve as a short hand in revealing what they are looking at (i.e an identifiable limb such as a hand or foot et al).

My original conception for this piece was to had a bit of canvas on either side of the body which would have been a different color and served as a clue. I decided to tighten the shot into more of a zoom.

I am very pleased with results. Long story short, this photo was not taken w/my new camera but rather my phone. You very much get a sense of the flesh and the blood below the surface, in person there is even more going on.

“Ils s’appellent Zabbahdoo 2” 9×12 Watercolor & paper

 

Ils'appellentzabbahdoo2

First Her Tears were Purple, Then Blue

I finally had to bite the bullet and get a real camera to photograph my work. This coincides with a greater complexity in my collages. Gone now will be the caveat accompanying images of my work;

“I just used my phone to take the photo, it gives one the gist of the work but not all the dynamics.”

Being a complete luddite, it’s going to take a little bit to become proficient with my camera. The timing of getting it worked out perfectly though as I just completed my most complex work. Ideal thing with which to try out new camera.

As is always the case, the components of the piece are from photos which I personally took. I work no digital magic on the piece, utilizing old school method of scissors & adhesive applied with brush.

I try to alternate between doing my painting and collage. The idea for this one came to me during dinner (the original sketch on back of grocery list pad). I decided to change up my rhythm and do another collage before a painting. Going forward, it will be interesting to see what added vibrancy will be added to my collage as I will be using a far superior camera to photograph my source material.

“First Her Tears Were Purple, Then Blue” 11×17

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You Know It’s True

I have greatly enjoyed upping my game with collage, refining my process. As is true with all my work, I do not want to be reduced down to  the “..” guy. (i.e landscapes/nudes et al). With collage, when you find something that works, it is very tempting & easy to slip in what would be for a musician, pet-licks.

I would like to think all my works have an open ended narrative feel to them. For this piece, I wanted to try to maintain that feeling but with less easily identifiable components making up the piece.  The color palette would once again be restricted but darker than what I have been using. As usual, I work no digital magic, only my trusty scissors and adhesive applied with brush to images which I personally took. The black atop I hand painted on, this being the first time I have tried painting combined with collage.

“You Know It’s True” 11×17

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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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This Little Piggy

I greatly enjoyed creating my last collage “To the Sea”. I decided to further explore the use of a limited color palette.This piece is a companion piece to my last one in wanting to go by the same “rules”. (limited color palette, utilizing my two main techniques within one piece to equal degrees, smaller sized paper)

As usual I only used photos which I took, my trusty scissors and adhesive applied with a brush. The sort of Maxfield Parish coloring comes from the times of day that I took the photos, all Pre-Raphaelite luminescence playing upon the neighborhood but for a few minutes at a time.

For all my work regardless of medium I prefer a certain amount of density. Especially with my collages, I like the effect of the viewer being able to find new little things with each viewing. An open ended narrative which leads to one’s own personal daydreams.

“This Little Piggy” 11×14

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We All Need Beauty (Now)

The news stateside continues to be bleak. Now more than ever we need beauty. Brief glimpses from afar to remind ourselves that the best versions of each of us are waiting to be birthed, that there is something more important beyond the “I” .  Beauty need not be a rarefied thing either, it can be an abandoned spiderweb in the corner of a window or even something more mundane or not traditionally considered so. Beauty can touch us all in collective way, resonating differently for each individual.

To continue evolving as an artist during this I continuously challenge myself. I ordered all kinds of paper which I had never worked with before for both drawing & painting. I have never painted on colored paper. First new thing was to try a 6×8 tan paper which is on a block.

It handled very differently, I had to let it really dry between layers which was all right. The blending was also very different from my other paper. The end result I was very happy with. The volume & mass of skin looks a little more expressionistic than how I portray it with other paper, this is not better nor worse, just different. I will definitely continue  with this paper. I have tan, grey and brown papers in all different sizes to further explore with too.

“Write This Down” 6×8 watercolor & paper

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To The Sea

For this collage I set myself several challenges. I wanted to do a smaller piece with a limited color palette. Also reduced was the number of things/objects (in this case just two, the spheres and sea).

There is a different technique which I have used as an accent occasionally on some of my other pieces which is closer to a mosaic. I decided to do the entire piece in this manner.

One of the things I treasure about doing mosaics is that I get if not the entire thing then an idea in my head of what I want to do. Then i do a layout on similar sized piece of paper next to the one the components will be glued on to. Inevitably things need to be tweaked to improve tension & flow. New ideas come to me as I construct too. It is these spur of the moment improvisations which make my collage like jazz and puts them between my paintings which are completely thought out ahead of time and my sculptures which are 90% improvisation.

I never work any digital magic. My trusty scissors & adhesive applied with a brush to photos which I personally took.

To The Sea 11×14

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