Starting with the top is my copy of the Neighborhood Register by Marcus Jackson with one of my painting Ascension Night on the cover. Marcus signed it as well. You can pre-order a copy of the book here on Amazon http://www.amazon.com/Neighborhood-Register-Marcus-Jackson/dp/1933880252/ref=sr_1_1?ie=UTF8&qid=1316582516&sr=8-1.
You can also visit his website here http://www.poetmarcusjackson.com/. His work has a nice gritty urban feel. Something I personally respond to for obvious reasons. He has a very strong minimalistic, straight to the heart of the matter, without any fluff style of writing that reminds me of many of the American authors between WW1 and WW2 along with the beat generation. I appreciate this approach, because I know that I paint at my best when I use an economy of brush strokes.
Below the studio shot is Another Exit and Vantage Point. I've added a rolling cart to the studio and have placed a drafting tabletop upon it. It eats up some room, but it's really nice to bounce back and forth from the easel to the table with works for laying glazes and coats of varnish. It's also nice to have a place to allow works to dry and place another work on the easel and get to work.
It's odd that even though I have three easels - I seem to primarily work on the easel on the north wall. It's been suggested it's simply a matter of me unconsciously not wanting to have my back to the door. The other easels serve the purpose of keeping works in progress within view, so that I can work out problems within them while painting other works. I guess nothing is wasted. Maybe when it's cool enough to close the door and lock it while working out there I will feel more comfortable working at those easels.
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