Monday, February 8, 2016

Two Paintings

I love these paintings because they feel very close to being authentic to the kind of work I want to create. No definite theme or imagery, but inviting the viewers to see what is there for them.

They are a set of what I call "twins", worked on side-by-side at the same time. Many, many layers, many changes, much evolution, so rich textures as a result. Both are 14" X 20".

Acrylic, black and white charcoal, oil pastel, rice paper, ink, Pellon, monoprint

Acrylic, black and white charcoal, Pellon, monoprint

New paintings 40" X 40"

Two large mixed media collages for the American Craft Council Show next week. Both 40" X 40" on gessoed watercolor paper, sealed with acrylic gel medium.

Acrylic, black and white charcoal, oil pastel, gauze, rice paper, ink, Pellon

Acrylic, black and white charcoal, oil pastel, Pellon

Monday, February 1, 2016

Drawing/Day 2.1.16 Details from today's time in the studio

The beginning of the two big pieces.

A strange little detail from a 14" X 20" that has been painted over many times.

A detail of one of the large pieces in process.

Sunday, January 31, 2016

Drawing/Day 1.31.16 Finished painting

20" X 26" Acrylic, charcoal, oil pastel, Yupo paper with ink, Bristol board, Pellon

I didn't struggle with this one. Although there are many other paintings layered under it, once I got here I was happy. Fun with the incongruous imagery and details hidden in the surface. It came together for me in a pleasing way.

Saturday, January 30, 2016

Drawing/Day 1.30.16 The Blank Canvas

Today I prepared two 40" X 40" potential paintings.

I cut pieces of 140lb Windsor Newton watercolor paper from a large roll, soaked each in the bathtub and stapled them to homosote boards. When they were dry I applied a rough layer of gesso, the more brush marks and cat hairs, the better. Tomorrow they will be flat and ready to start their journey and then we will see what they become.

Drawing/Day 1.29.16 Begging to Differ

James Abbott McNeill Whistler (1834 - 1903) believed that a painting "is finished when all trace of the means used to bring about the end has disappeared...To say of a picture, as is often said in its praise, that it shows great and earnest labour, is to say that it is incomplete and unfit for few...Industry in art is a necessity - not a virtue - and any evidence of the same, in the production, is a blemish, not a quality; a proof not of achievement, but of absolutely insufficient work, for work alone will efface the footsteps of work."


I LOVE showing all the layers upon layers and marks and scrapings and WORK! It is my first intention that you see "all trace of the means used to bring about the end." I find all the raw applications and stories of the build-up in the image quite exciting and beautiful. So, call me insufficient; I'll embrace the term.

Thursday, January 28, 2016

Drawing/Day 1.28.16 Details of today's play

You know how sometimes you walk by the bookcase and a book jumps out at you and you leaf through it and seem to find the answer to prayers.

The book was one I hadn't noticed or looked through in years - Master Paintings from the Phillips Collection. Beautiful reproductions of fascinating works from Milton Avery to James Whistler.

AND with every painting, a wonderful quote by or about the artist. I perused from the back and found Mark Tobey. Here is something he wrote in 1958, "We hear some artists speak today of the act of painting, but a State of Mind is the first preparation and from this the action proceeds. Peace of Mind is another ideal, perhaps the ideal state to be sought for in the painting and certainly preparatory to the act."

There were many other things I found as I looked further and chose to try to remember at least this from Tobey as I painted today. Doesn't come instantly, Peace of Mind while painting, but something to aspire to.