Cinefield® Go,Baby Go

My collage work in a very short amount of time became part of who I am. I lamented the fact that for longer trips/residencies I would not be able to do them. I began to investigate ways to perhaps make it happen.

The easiest thing would be to just use magazines/newspapers from wherever I was. This didn’t appeal to me as I have always prided myself on only using images from photos which I personally took. I researched pocket printers.

My Cinefield® are very time consuming and how to get the images aside, I had already had it in my head that were I able to do them on the road I would go far smaller as it would render a trip pointless were I to spend entire time alone in studio working on a piece. I also have other creative things that I want to do while on the road and the way my normal Cinefield® are made would have eliminated that possibility.

Another practical aspect of going smaller is that all the pocket printers I was finding seemed to utilize types of film. I did not want the raw materials to become cost prohibitive in constructing them.

For obvious reasons it was important that the photos not be laminated which eliminated many of the choices.

I found a device which literally fits in jacket pocket and feels solidly built. It connects to phone via blue-tooth which allows me to use any/all my own photos. The film is not exorbitantly priced although I will stick to my normal paper when not on the road.

My in general goal for doing pieces on road is small in size and utilizing no more than one packet of film per piece. Time wise, no more than two days working on it as this will allow me to also paint, write and absorb wherever I am in the world still.

The small size allows me to also do other things for the hour or so at a time that I am pressing a piece (basically laying heavy books atop it to get rid bubbles).

The film required a completely different touch and technique. In general I have only done several smaller pieces. Surprisingly, they are harder to do than normal size. There is less room to create rhythm/tension & release. What were already small piece often need to be made even smaller.

This is my first piece using the pocket printer. As always, it’s only images from photos which I took utilizing my trusty scissors and adhesive applied via brush.

It is 4×5 inches. surprisingly, it only took seven photos (the photos for pocket printer are about the size of a business card) I did it in two days. I was pleased with result and the fact that I pretty much met all the “rules” I had in mind.

addendum:

The news is bleak. The internet is fertile grounds for scams masquerading as charities or people who want to help. A hero of mine, José Andrés has a charity whose goal is to feed those in need. It eschews any politics for the basic notion that you can change the world by feeding everybody. This charity is not solely concerned with the Ukraine, although they are boots on the ground there now. Over the past few years, wherever there have been natural disasters he and his colleagues could be found trying to help out via feeding those who are hungry for whatever the reason.

I recommend to all to at least take a look at their site as it’s worthwhile.

https://wck.org/

“Cinefield® Go,Baby Go” 4×5 inches

CINEFIELD® Return

After a year plus of sheltering in place, one of the first things I did when at liberty to go out again was to restart taking walks. In finding a positive from a negative, the little things now all seemed fresh, new & beautiful. The palms, ferns and other tropical plants which grow up out of the sidewalks looked fantastic to my thirsty eye. The tiny architectural flourishes to be found on various older buildings previously unnoticed, now interesting and meriting a stop to look.

I am in no huge rush to go back to bars or even restaurants. It is my now twice daily walks which have made me once again start to feel among the living. I went to the local farmers market, half a second of apprehension from now finding myself among so many people again. The flower merchants with their plastic buckets offering sprays of color.

It is beauty not merely seen on my computer monitor nor emerging from the end of my hand onto paper that lets me know that I am returning to life.

This piece is 11×14. As always is the case, all the images are from photos I personally took ( in this instance from walks in park and farmers market). There is no digital magic, just my trusty scissors and adhesive applied with a brush.

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)

 

20200811_13344520200811_13290820200811_13090720200811_12574220200811_125727Amillionwaystodie

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.

20200704_07545920200701_07092220200709_06515620200708_071006Vpoppin

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

 

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”

 

blue on blue

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

shesaidflaccoarrangement

 

Nocturne

Everyone’s phone now gives them the ability to take great photos & movies. This is a blessing and a curse. It is nice to capture something, especially when on the road that one wants to show friends. The downside to this is, go to any big city in Europe and you see tourists so busy hunting the perfect instagram shot that they are not actually there in the moment. Ambient sights, sounds and smells are  not absorbed into memory. The old adage that “travel broadens the mind” is a sort of shorthand for being open to experiences and impressions so that they add to you and become part of you. I’ve seen some lovely shots of Paris on friend’s social media sites but when asked about their travels, they can not convey anything aside from the day of their trip they were at the local.

This is not recent news though. Another less apparent negative effect is that, with the ability to snap a photo of anyone, hundreds of photos of a night out with new friends, people under a certain age have forgotten or never learned how to look at a painting.

The relationship between painter and model/subject is not supposed to be one of exacting reportage. Ideally, it is as if the painter is describing the model but using their own words. Words in this case being the painter’s style. Because of the ability to document in photos, a person, people want an exacting reproduction all done in hyper realism. (like their phone photos)

When Matisse painted a woman reclining on a couch, you knew her foot was her foot but you would never dream of doing an  anatomical study from it. Largely, people do not want to see a painting which looks like a painting, where brush strokes are evident as is the artist’s hand. With my recent foray into social media, i have met some wonderful painters who are held back by trying to make their work look too real, too exacting and so stillborn. “Painterly” aesthetics is currently not as appealing to the masses as overly processed and perfected type thing which could be a glossy Haute couture ad.

Some museums during shelter in place have been offering free virtual tours. In a recent New Yorker column, Peter Schjeldahl, one of the finest living authors on art, suggested that viewing art online was not great. He drew the ire of many. There is though a huge difference between seeing an image of a work and actually being there. The digital image, even when shot in high definition still has factors which effect its appearance and impact such as the aspects of the device one is looking on. And the reality of looking at photos of paintings online, more often than not there will not be a sense of communion since chances are one has the television on or other distractions, the myth of multi-tasking. If one goes to a museum, instagram moment hunting aside, ostensibly you are there to experience art and nothing else. There is just an indescribable aspect to being in a building, in the same room as a work with it in front of you and others around you. There is not a “feeling” seeing it flattened out on a device’s screen. It gives the gist of a piece at best, it is akin to hearing a recorded voice not the voice speaking in the same space as you.

I get great pleasure in portraying human flesh in my works. How i do it is not a matter of degree of chops but intentional. It’s painterly and expressionistic. To do close up parts, it almost borders at times on abstraction. I have done pieces, close ups, where there is not the guide-indication of an eye or finger to tell of a body. It is even more abstract yet there is something fleshy about it. I feel very fortunate to be able to work the magic the makes a white square seem as if it has volume & mass, heat of blood flowing just below the skin.

Nocturne Watercolor & Paper 5×8 inches

nocturne