After all the time spent on my last CINEFIELD®, it felt great to get back to painting. I feel all the mediums in which I create are of equal value even though some of my audience only knows me through one of them.
Being in Paris has always been a sort of battery for my work. During this pandemic for the first time in decades I found myself cut off from my usual arrondissement and sources of inspiration. I recognize many had it far worse than I, so bare in mind I am not complaining. I needed to find a new way to work for essentially first time in my career.
I had my usual routine but mixed in with this were little challenges, explorations as to facilitate both evolution and insperation. I started several series utilizing new to me mediums, ideas and goals.
Gossip in one of them. It is not a book so much as a work of art which utilizes text. It is not only something very different for me but in general unique. I would call the art “immediate” in the same sense as some of the works by Wayne White & Ed Ruscha’s text incorporated pieces. You view it, have initial ideas but then chew upon it after the fact.
One thing I highly recommend is that you do not take a peek inside as amazon offers but rather go in completely cold with no idea what awaits you. Were it up to me, I would offer no “sneak peek” but amazon has other ideas in that department.
Rarely do i promote my works to buy. I would always rather have an audience than customers. With Gossip, it is meant to be viewed as a whole start to finish and there is simply no way to show parts of it in journals or what not without loss of effect.
All the images are created by me as is the text.
From the back cover:
At its best, the stream of life is like a great jazz standard. There is the familiar melody but with each player there are infinite variations and improvisations occurring within the known framework. Not just what the player says but the way in which it is said, the tone, make it worth revisiting. Further variation derives from our perceptions. One person’s requiem is another’s calliope.
Here is my riffing on humanity, flurries of notes darkly funny, tragic and image rich.
I have started reading The William H Gass reader. Right out of the gate I found myself deeply enjoying it. One of the first essays is on books which were touchstones for his life as an author. Early on he makes a point of drawing a distinction, it is not supposed to be a “best books” list but rather ones which resonated personally for him and which served in his journey into becoming an author.
He mentions Flaubert’s Bouvard et Pécuchet. Of the trinity of Flaubert, Balzac and Zola I had always held him in the least esteem (with Zola being, in general, one of my favorite authors). Right before returning to France a few years ago I read the excellent bio on Cezanne by Alex Danchev. Cezanne talks so passionately about Flaubert, i felt the stirrings of considering giving him another try.
That season I kept meeting Helene and Charlie for drinks and book talk. Her admiration of the trio was the inverse of mine. Her description has stuck with me:
“With Balzac, it was all money, money, money if only I had the money. With Zola it was sex, i need power to get sex, I use sex to get money to get power to have sex. But Flaubert, there is an author, the sentences each meticulously crafted.”
I decided to give Flaubert another try. I went to Gagliani and bought Sentimental Education and Bouvard et Pécuchet. I read Sentimental first. It was good, i definitely had more appreciation for Flaubert than I used to. It was Bouvard though which sealed the deal for me. I found the book darkly funny in the way early Celine had been.
What is interesting to me is that when this book is discussed it’s merits are often described via a shorthand of being “funny” ala wacky Swiftian satire. I think people perceive it this way because it and Sentimental Education form perfect bookends. The later is more outwardly “dark”. I like it, but really it is just a romantic era story of squandered potential and the dried up promises of bygone youth. And, of course, the usual chess like romantic patterns of the main characters. Bouvard is actually a darker novel.
Gass has very much same assessment. His articulation spot on and obvious, but not until you have heard him say it.
I would never argue interpretation with someone on art unless they were 100% wrong. With my own work, unlike when I was first starting out, I rarely talk about it. Fascinating though that art can have completely differing interpretations. Is one person wrong or are they merely noticing and emphasizing in talking of it, a different aspect than someone else?
The pandemic has effected people in drastically different ways. I am not talking about how they directly handle it i.e wearing a mask, not wearing a mask et al. Rather, the sea-change that has come over people in regards to their personal philosophy. For some it served as grim reminder that life is fleeting so live while you can. For others, it has served to bring on a sort of cautious vigilance less something else unexpected further swat us down.
A type of cabin fever-life is too short bubbles up in many and temporarily dictates their actions. I find myself getting notes, photos, movies which when looking at, I keep this in mind.
One of the photos which I recently received had an interesting compositional point of balance. I decided to make a painting of it. As i worked on it, I found people all had different interpretations on it. “Hot” “Silly” “Weird” “Beautiful”. Like Bouvard, it has a little bit of everything in it. The main overriding intent is not for me to say as why would I want to make anyone wrong and temper their enjoyment.
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.
I have noticed lately that there are a lot of museum shows & installations “walk through a van Gough painting” type of things using projections and other tech. I am sure this will attract revenue. For anything which is lazy, bad or dare I say plebeian, there are intelligent people out there ready to supply articulation as to justify it. The gimmick as (art) museum show; “This will attract those who don’t usually go to museums.” It is not so much bringing culture to those who normally would not bother but rather a transmutation of it into something akin to the latest block buster movie.
The problem with this is that it makes the artist/work besides the point. It is spectacle as focus and not artist work/intent. The deeper problems with this, as it is many people can not stand in line to get their coffee without keeping their head bent down in their phones as to be blasted by digi-sensations as to distract them from their five minute wait. A Picasso-laser show type thing is further contributing to a complete lack of the public’s ability to “merely” stand and look at a work of art. All art regardless of era and medium has a component of contemplation to it. We are perhaps a few years away from people going to one of the great museums of the world, standing in front of an immortal piece; a Renoir, a Velazquez et al impatiently waiting for the razzle-dazzle to begin.
When reading about art, depending upon where you live, there is a lack of the ability to go out and actually see the painting or works by a specific artist. The internet is good to look something up and get the gist of it, but it can not compete with the real thing. There is a difference. Looking at works mainly online, going to mutli media mutations of an artist’s work have changed what looks “right” or “good” to a modern art audience. They do not want to see brush strokes or other evidence of an artist’s hands which are a part of their voice. A smooth machine like perfection as encountered online, on postcards is what is now preferred.
One could imagine Soutine talking to a gallery owner or museum director and being told “Don’t worry, we will smooth down the rough edges digitally…”
You can’t fight progress nor the populist bent but merely offer an alternative for this willing to explore. The ability to portray flesh in all its beautiful imperfections is something I will never tire of.
Life as we know it has remained if not completely on hold, then altered. The rhythms & goals now a familiar stranger. It had rained off and on, so I did two Cinefield® pieces while waiting for my necessary to paint sunlight. The weather finally obliged me and I went to work on a new piece. With the changes of season the ideal times to paint & to photograph the finished paintings change.
Of course I have this memorized, it has become reflexive, a sort of muscle memory of light utilization. One thing which has always served as a reminder of shortly being about to change my painting hours are activities that I am doing beforehand. Coming back from my Parisian residency heralds a shift, etc etc.
Without all my usual activities as prompters, I found out upon completion of this piece, that I have hit a optimal hour to work change. It was an odd sensation, a bitter taste in my mouth. I will be the first to recognize that many have it far worse than I. It once again firmed up my resolve to put my work out there, not as any kind of cure nor solution but to offer up to all, a brief respite from what ever trials are currently being face.
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.
To anyone that reads my blog, it is immediately apparent that I take what I do very seriously. I am writing from the point of view of someone who is a professional working artist, so some of my advice or point of view will not apply to the hobbyist or anyone who has a “regular” job to earn their daily bread.
Numbers on social media & blogs still seem of the utmost importance. Whether intentionally sneaky or not, many people hunt for images, taking without attribution anything that strikes their fancy. You can copyright your image and if it is taken you have recourse. With concept or ideas however, it’s a different problem. If you have a concept that you work to articulate and brand and someone comes along with ten times the followers or who spends half their day online working their sites, it oddly becomes theirs. Unless you have taken the proper precautions.
I have gotten really into my collage and every time I do one i have learned a bit more. I feel with life in general, one must every now and then have an inner dialogue, even about established things that they know, as further articulation can provide more depth and layers to the thing(s). This week marks a year that I have been doing collages. (not my sole output as there has been a novel, short story collection, essays, paintings and countless drawings). While I still like my early ones, I recognize that they have gotten better and better.
One of the reasons this occurred is that I was constantly refining my methodology and philosophy while honing my skill. It may not be necessary for every artist but I came up with a description & mission statement for my collages. I created a word Cinefield® which is now a legally registered trademark.
Cinefield® “Flat, two-dimensional visual works of art on paper which create the feeling of movie like narratives through a composition of image rich and story like printed pictures”
I did this to show my seriousness in the medium but also the great affection which I have for it too. This is my second piece under this newly minted label. As usual, there is no digital magic. I used my trusty scissors on photos which I personally took, applying adhesive with a brush. The piece is 11×14.
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.