In the Eights: Six Sisters

I had been working on a large project and so knew doing a full scale Cinefield® was not possible. I get equal enjoyment from my ongoing “In the Eights” series. Their benefit being that they do not take up as much studio space and so I can do them at same time as something else.

For this series within the series, I had the pleasure of Kini Rao posing for me. She fully embraced my ethos of truth is beauty and her pieces are all the more stronger for it. No digital magic is used, just my trusty scissors and adhesive applied by brush. Each one is roughly 3×5

I am always considering new models for the series. If interested send me an email.

In the Eights: Six Sisters

Cinefield® – Bing-Bong

Over the course of the past year have adopted the rhythm of doing a  Cinefield® then a painting (while maintaining steady flow of nightly drawings & 8’s). At the start of a painting it rained for days off and on. I put it aside, the novelty of doing so being in itself of value for my creative process.

I started a new Cinefield® , the creation of which I do not need sunlight for.

Even though the shapes are lush and abstract, I wanted to see if I could achieve an open ended, open to interpretation sense of narrative.

“Bing-Bong” The piece is 11×14. As always all the images are from photos I personally took. There is no digital magic just my trusty scissors and adhesive applied by brush.

In The Eights

What feels like another lifetime ago, I made a CD. I felt very self conscious and looking back, judge my performances to be widely uneven. The parts that I can still bare to listen to, at the time I thought of nothing but what I was doing (talk/singing). The parts which are not as great, i was self conscious of the faces I couldn’t help but make while performing. A sort of seizure- scrunched up- ecstasy morphing into drawn- down horsey longness.

Way after the fact I felt what I had already intellectually known, no one listening to CD would think “Wow, I bet he had on weird faces while doing this.” And, that aside I now know it is highly subjective anyways. If one is a fan of a band, then in concert when singer looks like he perhaps could use an un-sharpened pencil put in their mouth, you think “Wow, he is really getting into it, this is intense.” Someone not into the band seeing same performance may snicker.

My In the Eights series is capturing looks we give but would largely prefer others not see. They are slurred to surrealistic proportions as I wanted to make it beautiful and off putting. It is not so much that for each of us our “eights” are there just below the surface, they come out, making appearances when we laugh, cry, are drunk, climax or for some of us, feel anger. It’s the terrible beauty.

The genesis of this series. My regular collages are very time consuming and slowly take over my studio with sheets of paper upon which rest tiny paper snowflakes. I alternate between doing a painting and collage. I worked hard to gain my collage chops and found as i worked on painting I missed it. I absolutely could not do both at once. When I am on the road, I am still creating but with the way my collage work is, that is all I would be doing. I came up with the idea to do drastically smaller ones which I would be able to do on the road and also while working on painting. Since I had the road in mind i knew I would not be able to use 100% my own images as I usually do. I also realized I may not be able to achieve my preferred density. The answer was to do portraits. My first few 8’s were found pictures. Reluctantly, I showed them. People really liked them an encouraged me to do more. I was able to get people to model for me which had been my one initial qualm about showing them initially.

They are small, all being roughly index card sized. I work no digital magic, utilizing old school technique of scissors and adhesive applied with a brush. As it is an ongoing series, I am always looking for new models, email me for details.

Model: Camila III

Model Amber Shale

In the Eights

I do not view one of my mediums as of greater importance than any other. Regardless of what I have done during the day, painting, collage et al at night I sketch. In rough estimation, I probably carry out my night time sketching 360 days a year with arriving in and returning from Europe being the only established days I don’t.

This nighttime sketching is in the parlance of musicians, termed “wood shedding”. It is the equivalent of when a musician practices scales. I am always surprised to hear some of my peers do not do this as even Coltrane continued to constantly practice.

With every collage I do, I learn something new and refine my process. Often I find that when I discover an easier way to do something, there is the feeling that it was so obvious, how had I not thought of it before?

A few nights ago the idea hit me, to wood shed with my collage too. I mulled over initial “rules” knowing that they would most likely be expanded upon as I go.

It’s very important to me that I use my own images from photos which I personally took in my collages. There is always a component of jazz like improvisation in my collages and I worried that using them to wood shed would take away some of that spontaneity and power.

As I had no intentions of showing the results of wood sheds to anyone, i would not be concerned with using images I did not photograph. The other factor of this is that with all the images I use, I do not want to have them appearing over and over again in my work (at least not without a long break in-between). Using other images will keep mine fresh for me. The other rule which immediately came to me is that they should all be small. Usually my collages are time consuming and it would not make sense to have practice work take days on end. Also working small was nice challenge. I do not have uniform size but none of these go much bigger than 3×5.

The few people who I showed these to were very enthusiastic. I must admit that I liked them too. After the first two I established an aesthetic which is beautiful but also slightly off putting. Despite the pleasure i get from even just practicing, I do not see myself putting these up to view too often, so enjoy the initial foray into establishing a new arrow in my quiver.

All Night Music &Dance

For my last collage the emphasis was just on doing something lush & beautiful. With this one I wanted to return to my often achieved effect of an open ended narrative. I also have in mind the desire to collage when on the road. With my density achieved via so many small components the amount of time it takes to do the piece would mean that on a shorter trip I would only (if even) be able to do a collage and not also paintings, sculptures et al.

Right now I have two styles of collage. I have mainly been doing my denser mosaic style. The other style incorporates larger pieces and I achieve the density I prefer in my works via distortions of lines and parts. This style is perfect for on the road, while the challenge of getting my preferred density will keep me away from mere mannerisms.

As is always the case with my collages, there is no digital magic. I use my trusty scissors and adhesive applied with brush to photos which I personally took.

“All Night Music & Dance” 11×14

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

Tothesea

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?”

Ourstorywhatdouneedtwoplightersfor

 

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

firstdiptych1Boobdaywhatdouneedtwoplightersfor

 

 

 

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”

 

Firsttriotechmanualstyle

 

Two Tales

I have always felt that one must have constant inner dialogues, even about things which are already known or established. Further articulation can give more or new ideas in regards to the thing, a jeweler sculpting a gem of thought.

There seemed to be very little learning curve for my collages but I continued to refine my process while also feeling there is always more to learn. An important thing for all artists in any medium is to leave your comfort zone and put aside established methodology. Having to leave the comfort zone fosters evolution and creates stronger chops.

These two collages are both 11×17. I have switched to a wonderful adhesive which allows the actual collages to last (as opposed to initially when only prints of them could be sold) I still do not use any digital magic, Just scissors, adhesive applied with a paintbrush on photos which I took myself.

“Edging Her Bet” & “Threesome”

 

edgingherbetsThreesome

Erratum: I am fairly new to the blogging world. A few observations which may help others out.:

Everyone is blogging for different reasons, some just for fun others with professional aspirations. If you are doing it as more than a way to constructively kill time, spring for the add free version. You could be writing or showing the most inspired content and then in the middle of your efforts is a toe fungus or travel ad. If you were going to job interview you would wear your best outfit to show your seriousness, same idea.

Regardless of why one is blogging, it comes down to wanting to be seen/heard and connect with an audience. If you fire off several posts a day, unless you are H.L Mencken, it is too much. Most people are following AT LEAST a few hundred others. This means you are faced with constantly checking your phone as someone will always be posting or if you set your preferences to receive weekly updates you suddenly have one day (at least) a week with hundreds of emails. It becomes akin to having several televisions on at same time, a sort of babel. There is no way you will be connecting w/as many people as you would like as posts get lost in the stream of non stop deluge of content. At some point the pervading wisdom was “shoot enough bullets into the air you will hit something” Maybe at very start of everyone being on social media but not now. Less but better crafted posts will ultimately do more for you than machine gun approach which as the number of people on e follows grows, becomes too much.