skip to main |
skip to sidebar
Another Day and Unrecorded Moment were completed during the second leg of the trip before returning home. Another Day was started at a campsite in the Redwoods, which felt a little amusing considering that I was sitting in the woods performing a city scene. It was more of a matter of staying on course and getting some work done for the upcoming show though.
The tentative title for the show is "Lost in Transition". My thought is that the title is both about what I'm going through and what I see the world around me going through as well. It's more of an artist's view of the world at play, but it seems like music, fine arts, film and fashion seem to be borrowing from the past and remixing elements from different eras rather than creating something new. Now, something new can and will likely spring out of these explorations and that's the "transition" part of it. I feel like we're on the brink lost within that transitional moment. For the rest of the world I feel like we're running late, but that we haven't fully entered into a new age as well.
Now personally, I guess I just feel like I'm entering into another big period of my work. A new level of understanding and working. I'm just in that transitional period right before making the next leap, of course you only know that you've made a huge leap a year after the fact sometimes.
I've returned from my trip up to Portland, Oregon and back down the Pacific Coast. It was a fantastic trip and I lost count of all the photos I took for paintings. I rode around Portland one day taking photos and walked the downtown for an entire day for more photos. There are also all the barns, motels, general stores, gas stations and coastal photos I took as well. I'm in the midst of preparing for my next exhibit that will be at Modified Arts in October the opening on the third friday.
During my trip I did a number of drawings, (above) is Caught Adrift.
The Day to Day (above) was given to our friends in Portland to say thank you for letting us stay with them.
Followed with The Long Way Home.
All three were drawn while in my buddy's studio, while we were in Portland.
Finished up Clutching on Saturday morning. I worked really hard to capture the feel of the drawing while introducing the wonderful abstract distance and depth that happens more naturally within the medium of painting. What I like best about my drawings is the clarity that line provides, but what I love about my paintings is the brush strokes and ambiguous abstract areas that allow the viewer to fill in the blanks. With the last batch of works, I'm working to establish a synthesis of the two almost a hybrid style that possesses both qualities.
With some of these works the collaged elements has fallen to the wayside for the moment. I guess to focus in on developing the new technique really. Another part of it is that each piece or body of work calls for it's own mode of working. If a piece needs collaged elements it comes naturally, if it doesn't that comes naturally as well. I paint very intuitively and don't really have a natural flowing way of working. Yes, my paintings start by inking followed with varnishing after the ink has set and the first layer of underpainting. This layer of underpainting is then followed up with another inking session, but this time around I will either paint directly into this layer or varnish before the ink sets fully, so that it will bleed and create distortion. Afterwards I typically clean things up and repeat this process until the work is finished. That is a fairly set way of working, but the collage aspect if needed for a given work happens between these varnishing sessions. The layers of varnish also give the paintings the luminosity that is seen within oil paintings.
I enjoy working with oils, but when I started collaging and incorporating drawing materials in my work, I found that acrylics provided a more ph stable environment for those materials.
Another big part of this was that while in college two of my painting instructors joined together and received a research grant to explore new painting material technologies. Two painting classes were joined into one and I believe the class time was lengthened as well. We were given a huge amount of materials to experiment from a wide range of binders (different acrylic polymers, urethane, nylon, and more), powdered pigments to mix our own paints, additives that would either cause surface effects or prevent crazing, orange peeling and air bubbles, and a host of other things. The materials were free for us to use and we were to provide panels of technique exploration documenting what we had done to get the effects. I guess for me that really set the stage for moving away from oils and working with acrylics.
Finished Distant Hush up last night. It's the companion to Midnight City though larger. The title comes from the fact that you can see at the base of the buildings the traffic whizzing by. Of course from where I was standing it was only a distant hush and spectacle of dancing light. It's amazing, but from a distance the annoying and the mundane can be beautiful.
Not sure how to work this into a painting, but as I rode my bike home today a butterfly flew next to me for about a block or two. There was something simply amazing about riding alongside a butterfly for over two minutes. There are moments like this that remind me of why I ride my bicycle to and from work.
Just finished Midnight City. It's first of a series of distant night cityscapes. The night works seem to have more color than some of the other works, but these night works also express a different quality of life. I have to admit I'm more of a night person than a day person. I typically stay up until 2am unless I have a morning group ride or other bike ride planned. Early morning is the rule for cycling due to the lack of traffic early in the morning.
Actually, a night bike ride with my friend up in Portland, OR is really was really the first inspiration to paint works like this. We went set out around nine that night and didn't get home until about 2am. I took a bunch of photos alongside the river of the bridges, but none of them really turned out. Maybe, I'll get lucky this summer when I go to visit. The source photo for this painting was taken in San Diego this last November.
Just finished Lost in the Reverb. I debated a few different titles, but felt this one worked the best. My thought with this piece is it's a typical evening walk home past the places you pass everyday to and from work, past the same people, and only the seasons vary it seems. Each day is like a reverberation repeating only slightly different.
I know that may sound boring, but our lives have a certain level of not necessarily monotony, but routine. There's kind of a safety and maybe comfort in traveling the same route to and from work each day. For instance, if I'm riding my bike to work and I'm playing tag with the 15th Avenue bus I know I'm running late and need to pedal harder. I also notice the same folks jogging, walking the dog or pushing strollers in the morning as well.
Completed Any Other Evening. It's a nice little piece. I kept to a more monochromatic color scheme to let the line tell the story. I'm starting to draw into my paintings more. I like the definition of the line and the less defined areas that cause the viewer to fill in the blanks more.
The works for the show are now getting finished in a steady stream for the show. The show being "Night and Day" at the Lanning Gallery up in Sedona, AZ with the opening Friday evening April 4th. I'll make a link to the gallery's announcement when it's up.
