Beauty of the Everyday

compulsively, I read biographies on artists of every medium & era. I will even delve into people who are not my usual thing which has more than once made me become a fan. There is a commonality which transcends both nation and decade, that of practicality initially dictating artistic direction/materials & methodology.

The Impressionists are mainly talked about in relation to how they used color and lighting effects. Their importance was not just their revolutionary portrayal of light as it effected perception though. Before them, some painters had started breaking away from the pervading “must” of people being heroically portrayed ala history/myth/allegory (Courbet & Millet had started towards more naturalized milieu) they were the first to fold it into their works wholesale.

People were portrayed having an eye opener in a cafe before work, dirty nails, bad skin. Objects were portrayed in natural positions, a wife’s hat left atop a shrub, detritus atop a studio table waiting to be swept with forearm into the trash.

Part of the reason for this all was practicalities sake. Models could not always be afforded and it was easier using friends and family to pose, especially as scheduling could prove to be more convenient and often all it cost was to eventually return the favor.

These things would be enfolded into the methodology of their work and then honed. After this point, it was became their lexicon.

The same thing happened with Picasso/Braque cubist still lives, it was just things they had laying around which were part of their every day lives. Money need not be spent on flowers or any other kind of specialty objects. The only downside to this was that by the time Picasso was moving on from cubism, cubist paintings by participators in the genre more often than not had “required” objects to be included which had initially made appearances in a natural manner due to pragmatism.

Practicality is often an important initial dictator of choices an artist makes, but once the path chosen is felt to be the right one, a philosophy sprouts up. Like the methodology, it is ready to be honed, its articulation, whether to the public or just in the artist’s head, fine tuned.

The Italian painter Giorgi Morandi rarely left his city of Bologna, Italy (only three times, much later in life and then only briefly). He did not portray life in his home city but was fueled by it. He mainly did still lives. Most of these were of bottle which had just been laying around. A cursory look at his work and they seem deceptively simple. There is no bursting forth virtuosic moments to be found in his work. What makes them remarkable is that they very much look like every day objects imbued with organically occurring poetry.

A generation later and half a world away, Henry Virgona worked along a similar philosophical line. He kept the same 300 square foot Union Square studio for fifty nine years (sadly, ending in 2019). He rarely traveled, preferring to stay within the confines of the city whose fabric he was very much part of. He did still lives which showed him to be the artistic son of Morandi. He was an accomplished draftsman and this urban Antaeus did amazing candid drawings of all the people that he encountered in his daily city life, their natural poses maintain the power of the pieces. Two men, one mainly using objects, the other, people encountered every day, both showing inherent natural beauty of regular life.

I had already hit upon my philosophy and modus operandi before discovering Henry’s work. We definitely have marked differences, some of which could be generational. It is inspiring though, to see that one’s idea of serving the process is not completely out of left field but rather an evolved link in a chain which goes way back.

Most of what I work in and how I work all started out from practical considerations. I mainly use people in my life in some manner as models for convenience’s sake. When no one is around, I will paint or draw whatever catches my eye which is right in front of me. I too go for the beauty which organically comes through in every day objects or scenes.

One of my greatest pleasures in life is to conjure up, even if only with a pencil nubbin and scrap paper, either something I am seeing or talking about.

I was at a concert and observed various moments where, as much as I was enjoying the music, got caught up in people watching. Doing a sort of raw-visual-reportage after the fact, I caught the moment in a bigger sized for me piece. Aside from the size of the piece, another departure for me was the fact that I did a few studies as I wanted the crowd scene to be accurate and maintain a certain degree of looseness which already having knowledge of positioning and compositional balance would help with.

“Sept. 19th” 14×19 graphite on paper 5×7 studies

Going Under

When I first started seriously painting, I used a French cotton paper. I did not realize it at the time, but it is far less forgiving than the paper which I currently use (which is non-cotton).

I made the switch when the already up there price raised even more. There was much experimentation before I found the paper which became my main one.

In cleaning my tabouret draws, I came upon an unopened block of French Cotton paper. As my skill has increased from when I originally had used it, I was interested to see what I could do with it now.

My preference with cotton paper had always been cold pressed, but even with this, there is more tooth to the paper than what I currently use. This gives a sort of chunky effect when portraying flesh, watercolor impasto.

I enjoyed using this paper and I will work my way through the block but to my surprise I now prefer my current non-cotton paper. The cotton paper does not blend as easy, so getting effects I want with cotton paper will now make it “easier” with my preferred paper.

5×7 Watercolor & cotton Paper

Summer III

Unintentionally, my last three paintings form a cohesive series. The news continues to be bleak. It is the responsibility of all artists to do their thing. Not necessarily art with a message but putting forth things of beauty as a reminder that there are things out there bigger than ourselves. And more importantly, not everything need be connected to a “Us versus them” issue.

As I cool down on use of some of my other social media sites I had a revelation. Just because you disagree with someone or even if they are legitimately wrong, it’s often not worth yelling back. You are not going to change hearts and minds. Even if in the right, more often than not it is just adding to the cacophony, feeding the pervading negative zeitgeist.

All art regardless of medium is a way to look towards better days, here’s hoping I see you there.

Summer III 11×17 Watercolor & Tan Paper

The Caketts: a retrospective

It’s that time a year again. I am lucky enough to get a birthday cake from The Caketts. Music remains my main source of inspiration and outside of serving the creative process, my main passion.

Every year the cake is musically themed. I have no say in what it will be, although obviously it’s music I like.

The first cake I ever got was reproducing The Rolling Stone’s Let It Bleed album cover but with cats replacing the lads.

One eats with their eyes first. Aside from that obvious pleasure, the cakes themselves are very good. The flavors are always unique. This year’s (Miles Davis/Gil Evans Sketches of Spain album cover) was a Manhattan flavored cake. With the bits of bourbon macerated cherry to be found within combining with everything else going on, the cake was patisserie-decadent enough to easily be expected to be found in Vienna.

Everything is made from scratch, no prebought sheet cakes, no stencils. Even all frostings are made by hand, nothing shooting out of plastic tubes, aisle five thank you kindly.

These are all the cakes over years so far, in order. (W/later cakes my name is watermarked on photo. This might seem overly cautious but w/first photos i Put up of a cake, people just put it on their Instagram w/no attribution where it garnered thousands of views. Insult to injury, in one case, person who reposted knew me but w/pic put that they forgot where they had come across this. In general, if you didn’t create it ask person who did. Or at very least, link to their site. It’s basically stealing other wise.)

Frank Zappa Live @ Odeon album cover

Summer II

Blogs, social media, online news, news updates via text, it is way too easy to get caught up in doom scrolling. The seemingly reasonable assertion that to be hyper vigilant in regards to all the bad things allows one to have a hand on the wheel so to speak. While I do think it important to know what’s going on, a steady diet of the bleak and negative is not healthy for anyone. Even if unintentionally, you end up just adding to the negative. There needs to be some moments of calm, peace and the positive, otherwise what’s the point of it all?

I would like to think that at the very least my work offers a brief respite from the woes of every day life and its accompanying concerns. A moment of beauty to serve as a counter balance to the bleak and out of our control so often now a part of the news. Sometimes a way to implement change is by just engaging with the things outside of the struggle.

This is a commissioned piece.

Tan Paper & Watercolor 11×17 inches.

Cinefield® Menage A T

There’s an old adage that money makes money. This saying is still parroted today but the meaning is mostly no longer known. If you are in sales and have a specific number which must be reached within a certain time frame, if lucky enough to reach it well ahead of schedule then most likely you will find yourself well over the number by the deadline.

Why? Because you are now relaxed, goal met. Time left on the clock, you can continue to sell with a casual mien which puts others at ease and prevents motives from being scrutinized.

Essentially, this is the power of wiggle room. Anytime you find yourself with no pressures of time frame or other matters of control, it facilitates a kind of ease in which things can get done.

Of course there’s many types of wiggle room, it’s far from restricted to a sales thing.

Currently, I find myself with wiggle room of no expectations of gallerists or other decision makers. This leaves me free to explore and stretch myself which suits me as I never want my work to become mere mannerisms.

I shake things up with what and how I create while I can. It’s a way to facilitate evolution too.

Most of my CINEFIELD® work is 11×17 inches. My last two I kept the size the same but set out with different goals for both, sort of challenges to myself. Wiggle room, wiggle room, I decided to keep the challenge method going.

For this one, I decided to go much smaller 6×8 inches. Although I prefer a certain amount of density compositionally, I would eschew that too. I also decided to make this one more overtly narrative. Luminescent elements so much a large part of other pieces would be dropped down to a smattering in favor of a more limited, muted palette.

I was pleased with the results. This piece is very different from its siblings. As is always the case, the images used are all from photos which I personally took. I used no digital magic, only the traditional method of scissors and adhesive applied with a small brush.

Summer

There’s been much talk lately of the negative effect on teens body images via social media. I do not disagree with this. However, the internet has always had a tenuous grasp on reality. People of every age add filters to their face/body when posting photos, all kinds of other tweaks. Then there is the side-stand duckbill face, the de rigueur for an entire generation of women when doing selfies. Eventually. this pose and look will be viewed with same amusement as footage from bygone eras where men’s hair is overly brill creamed to the point of looking plastic.

To me, the truth has always been beautiful. The truth is unavoidable too. One can apply as many filters as are available but at some point you are going to have to go out in the real world as you really are. These things, the importance of trends et al, only have the power of the importance which we give them.

The beauty of truth is why I largely prefer to use subjects (friends et al) that I know for my work. The trust placed in me means that they can relax, eschewing any overly academic or glam poses. Even after all this time, one of my greatest pleasures is to portray flesh via paint. Sometimes, I still feel like the musician marveling at the notes that they are making.

“Summer” 11×17 inches watercolor & tan paper

CINEFIELD® Carousing

Often when you read a biography on artists, in any medium, I have noticed a commonality. There seems to be a career sweet spot. This is when they have established their voice, have an audience and can comfortably exist while serving the process. They are not necessarily as big as they will become.

What makes this the sweet spot is the ability to still 100% follow one’s own North Star. No consideration is given towards audience nor critic expectations. New directions can be taken, old ones dropped.

The tragedy of all of this is that this phase is often recognized by the artist only well after the fact.

I am lucky to recognize that I am in the sweet spot. With no forced upon restrictions nor expectations, I experiment. Even when it is a direction I decide not to go in, this freedom fosters evolution.

My last Cinefield®, I wanted to make more rhythmic than previous ones. With this one, I wanted a greater density. I went with a more limited color palette as to make it more noticeable. I tried several new things with this piece which will now just be part of my regular process.

With all my Cinefield® works, I only use photos which I personally took. Another different thing for this one, I only used two photos (in general with these works I don’t use too many, but this is even less). The piece is 11×17 inches. No digital magic just scissors and adhesive applied with a tiny brush.

Errata: copyright. People, especially with visual work, prominently display copyright notices. Definitely copyright your work, before you post it anywhere, before you submit it anywhere. However, the watermarks and notices are a distraction and according to many gallerists and editors I have spoken with, the mark of an amateur. To have the notice on edge of paper, it can be clipped off. To have giant watermark, your are wrecking effect of your piece.

Some might complain that to copyright everything one puts out can be cost prohibitive. With drawings, things where an artists hand is so blatantly present, it is not necessary. As for the rest, it actually makes an artist assess their work better. No one hits a bullseye each and every time. If you are considering copyrighting a work w/its accompanying fee, you have to be more honest with yourself.

Copyright is not a forcefield which will prevent people from lifting an image you created. It gives you a quick recourse to take back what is yours. Generation Instagram feels that if it is online and they like it, it’s a victimless crime to use it as content. Copyright allows you to get it back quicker or really drop the hammer should someone actually be monetizing one of your creations.

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

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