You’re Funny: Notes found jotted within pages of my pocket sketch pad.

Many bars in Paris still do not have televisions blaring from every free bit of wall space, luckily. I found myself, briefly in one of the few which did. Ironically, I was not even in the mood for a drink but to use the restroom. My personal sense of etiquette though, I ordered a drink.

The man on the stool next to me asked me about my accent.

“Sud Africain?”

“No.”

“Americaine?”

“Oui.”

With a thumb he points at the television, the thumb being chosen as it was a second class citizen to the index finger and all such displayed vulgarity was worth.

“What’s television like stateside?”

“We have one channel that shows twelve hours a day of either Seinfeld or Friends, NCIS and Law and Order are always on at least two channels in six hour blocks and most channels, when they have time to fill will throw up either one of the fast & Furious movies or Avengers Endgame.”

He could not picture what I was saying and only half understood. Part of him suspected I was having fun at his expense while another part thought perhaps I had devolved into some form of gibberish. He insisted on buying me a drink as to get me to lapse back into the silence of strangers, while in the background a dubbed in French episode of the Mentalist came on. With a weary smile, the bartender pushed a small bowl of stale pretzels towards us as he went searching for either the bottle or remote.

//

Jim Morrison wanted to give up the rock star thing and become a full time author/poet. Many people pointed to his lyrics, citing those as evidence that he was pretty much already a poet. Jim Morrison is like Baudelaire or , as he was rebellious and died young, Rimbaud. Jim Morrison is like Rimbaud, unless you have read Rimbaud.

///

Even in North America, if one lives in the heart of a major city, eventually many strangers will see your private moments. Padding across a room naked, scratching or one of a million other things we all do. What separates us from beasts (usually, but slowly devolving to a 50-50 split) is the knowledge not to do these things in public.

You can have a bathrobe at the ready etc, reminding yourself every time you get up, who knows how many eyes are watching. Eventually though, all city dwellers become desensitized.

Paris is special in that even the smaller, cheaper apartments have the French windows or if not in this style, oddly shaped or strangely positioned. The way the buildings are piled up, at night I have many tiny illuminated in old- halogen- gold stage sets. You see people going about their lives, the erotic, the mundane, sometimes the poetic.

Like the time I watched a man building a model boat. He was skinny, bespeckled with sockless chuck Taylor sneakers, never a shirt and always some kind of sweat pants. No matter what music I put on, that season was mainly Chopin, it seemed to perfectly sync up with the scene he was acting out. Once the tiny ship was built, I never again saw his square of light against the dark silhouette of the building.

Being a demi Parisian, I know that I have had my time in being on the menu for the night’s programming. There he is, in bed pen dancing pirouettes upon the paper, book in hand he never falls asleep reading but snaps light off at proper end of chapter. Two corners of the bedsheets in hand, he is snapping them in the air with the flourish of a bullfighter before allowing them to float back down upon the mattress.

An interesting thing, during the day, it’s hard to tell what windows you had seen into at night.

I have always said that you can tell how great a city is by its relationship with cats. The best cities have plenty of cats to be seen in windows and walking along the streets.

My studio, when seated at my table a window two floors below mine and across is a fat cat I’ve named Porthos for his girth. Should I ever meet the owners and they introduce me, giving a different name, I will tell them that they are wrong.

One day as I was getting ready go to work, Porthos wasn’t in his usual spot but peripherally my eyes saw movement from a different apartments’.

There were two little kids in pajamas playing. I am horrible at knowing how old children are, a boy and girl maybe eight-ish. I thought it odd they weren’t dressed yet. Maybe they were tourists having arrived from far away, their internal clocks had not yet normalized.

Over the next few weeks, whenever I happen to glance by that window, the two kids still in pajamas, playing. It was weird because Paris has so many parks. You actually see children with their peers, with their parents, playing ping ping, chess and the Luxembourg Gardens has a large center fountain where you can rent a tiny toy sailboat by the hour. Yet this pair always seemed to be in that room.

After three weeks there was one change, a large tipi, but it was made of plastic, sort of Fisher Price(y). It gave them an unsettling Thirteen Ghosts aesthetic.

Once the sun went down that window never lit up and now I am pretty sure those two kids are ghosts.

(all pics by me)

///

One of the things I have always treasure about Paris is how much great art is to be had just walking in the parks. There are some beautiful Giacometti’s, works by not as well know artist but beautiful none the less. Ages ago I used to go on Sundays to the Cantor Center at Stanford. They had a giant de kooning bronze. Rare because he did not really do too much sculpture, especially at that size.

Right as I found myself really getting into his work, the sculpture was gone. It ended up in the Jardin Tuileries across from one my favorite Parisian bookstores.

Art aside, the parks are a treat. Delacroix, even when older and famous would regularly still go the the Jardin des Plantes to sketch. The Luxembourg Gardens is large and has many paths laid out with different feels to them. Found among all these paths and trails are all types of statues, flowers, flowerbeds and plaques.

Many of my friends are in the service industry, restauranters or bartenders. General consensus is that the two worst nations exporting tourists are the English and then Americans. England should not feel too bad though ,as most of the worst America has to offer proudly have no passports.

Any place in which Spanish is spoken, the English merely add an “O” to the word and say it several times louder as if this were a spell transmogrifying it into Spanish. For French they add a “Le” and roll their tongue a bit like Johnny rotten at the mic in a huff.

I was walking the ‘Luxe. There is a moving, large statue in remembrance of the holocaust with, in case one couldn’t figure out what was going on, a plaque at its base.

I watched a group of American girls in athleisure wear, with central pony tails clamber to the base of the statue, all turn semi sideways to face camera, in what many articles have said is ideal positioning, while making phony gang signs and letting mixed drink coated tongues stick from the corners of their mouths until the snap of the camera.

This is a direct effect of what we get when we try to get rid of unpleasant things from history books. This is how people act when there is zero empathy because they do not know from anything other than what has directly impacted their lives.

FINI

If you like what I say or how I say it, my books are available via amazon for kindle & paperback

Voyages

For artists in any medium an online presence is now necessary regardless of how one’s methodology used to be. Connected to this online life for amateurs (even if they are not aware of being so) is the myth of the numbers game with its implied short cut to money and visibility/site numbers.

The basic premise, which has a myriad of variations depending upon who is explaining it, can be parred down to a basic concept of the greater amount of times one puts out there a work they have for sale or perhaps an appearance/show, then the better chance there is of achieving satisfying sales/head count. The true believers explain it thus:

“If you have one hundred thousand views of your post and only five percent of people buy your thing, well that still works out to be…”

Aside from the fact I think machine gun firing (this is making constant mention everywhere) what one has to offer out onto the net is uncouth, it also is naively optimistic. It’s one thing to look at a posting, it’s another to purchase something. Regardless of how inexpensive it is, most people follow at least a few hundred people and it can easily add up fast.

All that aside, I personally want an audience, not customers and this is the great disconnect often now occurring between artist and public. I dont want to hustle for sales etc. If I were going to do that, then I would just have a straight job where sales would equate to large commissions and expense lunches.

It’s all right to mention something available to the public when pertinent. As an artist you hope your work gets seen. Anyone who reads my blogs knows that I rarely make mention of for sale things except for when they are brand new.

I am proud to say that my latest collection has just came out. It’s available now for kindle & Paperback on amazon.

Paris Painter 4 : Like Sonny

Lyra water soluble graphite sticks have become one of my favorite mediums. That with a brush and pocket pad and i can do painterly pieces even when sitting at a cafe table. And I need not sprawl out taking over the table. I am also able to maintain discretion as I would hate to be like one of those people stateside who feel it necessary to go to Starbucks to show everyone that they are “writing”.

Aside from fully realized works, i continue to woodshed, hands, feet, whatever is in front of me. It is akin to a musician practicing scales. Both Renoir and Matisse when in the twilight of their years said something along the lines of it being a shame that they did not have a few more years left as they both felt that they were finally starting to get it. Coltrane before and after a concert or recording session would still put in time practicing. This has been my overall approach too. Regardless of how my day is spent, an hour or two at night woodshedding.

I do not go for the outwardly dramatic thing in my sketching. I let the organic truth of whatever the thing is create the emotion. A sort of raw reportage without any preconceived agenda. All pieces are either 3×5 pocket pad or 4×4 pocket pad. My 3×5 pad has circled the globe with me more ties than I can count and is always besides my bed or in my pocket during the day no matter where I am in the world.

How it began

Selfie

Kini in Cap

The End: selfie freaked out & tired @ Heathrow

Cinefield® – Kini (Blue is Cool)

About to head back to Europe shortly. I had previously written about being able to utilize a pocket printer as to be able to do Cinefield® pieces in my Paris studio. As I live right around many great art supply stores i am sure that I will be able to find adhesive. However, I have never been one to leave things to chance. So i have been experimenting with glues which i can bring with me and are not as outright industrial as my adhesive.

The nature of my pocket printer pieces is that they are small, index card sized at most, 4×5. The first one I did, I tried a liquid glue stick of Elmer’s glue. This wasn’t ideal as when it got on the front side of image it caused discoloration. Also it was so liquid-y that there was no way to really control it despite the fact it was in a pen like delivery system.

In an absolute pinch I could have made due. My final attempt was with the glue sticks with which school children work. This took a bit of learning curve as pieces and sometimes entire sections after the fact would pop off making a brief snow flurry of cut pieces upon my table.

I got a handle on how to best utilize the glue stick, although it made everything more labor intensive. The good thing about it is that I can easily pack a glue stick in luggage w/no hassle from TSA.

There is very little chance though, because of the nature of the glue, that pieces I do would last. The photo I take of the finished piece will be the work/the art. I can’t fully explain why, but there is a freedom in this.

Of course it may be non issue as I find my preferred adhesive once moved back in.

Like all my Cinefield® work, every image is from photos which I personally took. One can see more edge/line of each piece, that is the nature of using pocket printer. The printed material is akin to business card sized photos, there is the impossibility of seamless edge blending as i often achieve w/my regular paper pieces. this piece is roughly 4×4.

the highly technical schematic of the piece

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® Tiny Annie Two Trips

After finishing my last Cinefield® I started a painting. Weather conspired against me with heavy fog & rain. As they do not require same light situations, I switched to doing another Cinefield®. I wanted to make this one look painterly, a further evolution of chops & (artistic) mission.

It proved to be a labor intensive piece. At 11×14 it took me longer to do than some of my far larger pieces. As is always the case, I only used images from photos which I personally took, utilizing my trusty scissors and adhesive applied with a brush. There is no digital magic done after the fact. This is a personal favorite of mine, not just within my Cinefield® work but for my entire oeuvre.

This was by no means the smallest size of pieces I dealt with for this work

Hotel Internacional, Mars

People’s dreams of “The future” are never as mundane nor inconvenient as the reality. I find myself having to head back to Mars, yet again on business.

The first year or so after the war, every soldier was treated like a hero. The drinks were free. Now, a new generation of student activists who viewed the whole thing in less heroic terms. The root of which often was just a contrary streak in regard to their parents’ politics. We all took our medals off the lapels of our jackets, except a few of the older guys. In their eyes, to do so would be tantamount to a defeat.

I pulled my boots off, it served no purpose, it was safety theater for the less well traveled. Inevitably the line would hit a snag, everyone held up as prohibited fruit was confiscated from someone who didn’t want to pay those Mars prices and thought that they were slicker than the TSA.

The bell at the front desk. I appreciated that they managed to not only still have such an archaic device but that somehow even after all these years, they had prevented its theft. My fingertip hit the small nubbin atop the shiny silver dome.

“Ah Mister Wesley, welcome back. We have your usual room ready; Business or pleasure bring you once again back to us?”

“It’s Mars.”

I knew he would appreciate the subtly of allowing each eavesdropper to ascribe their own meaning to my answer.

I adjusted the strap on my bag and headed for the lift. I cast a final glance to the desk, we exchanged nods and I kidded myself that this time would be different.

Text & image W.Wolfson 8/18/21