The Uncertainty Is Always There - In Progress

Here's a progress shot of The Uncertainty Is Always There acrylic and collage on canvas.  I've been using a subdued color palette lately instead of just black and white.  I like the added depth and playing the warm deep browns off of the  cool dark blue/greys.  It just feels more dynamic to me.

The title for this piece comes from the uncertainty of our times and the uncertainty I feel at times. It's the ghost that seems to always haunt us.

I've been entering into juried exhibitions and it will be a while until I know the results for a few of them.  It's kind of nice though to have the work from the last show in the studio on my shelves to look at while I'm painting more work.  It's interesting, but paintings feed off of each other.  My hope is that these paintings will dovetail into each other better. 

Preoccupation

Finished Preoccupation, acrylic and collage on canvas, 36 x 36 inches this morning. It's nice that the last three and the painting still in progress are Phoenix based. Tomorrow evening I deliver the paintings and drawings to Modified Arts for my solo exhibit "Lost in Transition" with the opening this Friday October 17th 6-9pm.

It's been a long haul getting ready for this show. There were even two works that although nearly done that I juried out of the show. They will be great paintings when completed, but they didn't fit into the whole theme overall. 

It's odd how shows come together, really. I'm sure musical artist go through the same feelings when putting albumns together. There are just songs that don't fit and are either used for b-sides or saved for another albumn.

Clutching and Before the Rush - The Paintings

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.

Any Other Evening

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.

In Two

Completed In Two a pen & ink and marker on paper drawing this morning as a birthday gift for a friend. It's based off of a photo I took in San Francisco. I love the long shadows and the motion within the piece. This will ultimately become a painting as well. 

Last night was the second reception for the show and it was a fantastic evening. I'm profoundly thankful for the public response to this new body of work. Half the works have been sold and the show hangs for another nine days. Thank you to all who came out to either the Opening or the 1st Friday Reception last night and a big thank you to Kimber Lanning at Modified Arts.

Crossing

Finished up on Crossing this morning. It's really nice to spend some time drawing. Unlike paintings drawings are very much about getting in and getting out. It's very easy to overwork an area and destroy the piece. In fact one false move and you may very well have to start over completely - at least with pen & ink. That's the beauty of the medium though. After any length of time spent only painting canvases I find that I get accustomed to be able to monkey around with a passage until I'm happy with it or just the opposite. I also forget that less is more.

Clutching

Finished Clutching a small pen & ink and marker drawing. I titled it for the fact that the man walking was clutching his bag closely to him. When I look back at the photo the fact that his clothes are one to two sizes too big strikes me. That day I was cutting through the Tenderloin District in San Francisco after hitting some galleries just above Market Street. 

Well I guess I'm reminded of this a little today, because I just had a family that if they weren't homeless were darn near ask me for money today. I stated the truth that I didn't have any cash on me. I'm not one to give money really, but in all honesty, in this case I would have. I guess with that just happening I look at this drawing a little differently. The man in the background is clutching onto everything he has in that bag and the belongings in that bag may very well be all he has. I have no political point to make here beyond an awareness of the human condition.

I'm not a political artist and actually don't like mix politics with my work. I am generally like Edward Hopper and the painters of the Ashcan school focus on urban city life and the isolation of individuals, the herd mentality that comes with modern life and the movement of people through the city streets. I focus on the buildings and the wear and tear on them. In fact, the building paintings are portraits of societies' soul or the collective soul of all those who have passed through those buildings. I'm wondering if a portrait of the have and have nots will most likely emerge in my work rather unintentionally. Considering my manner of getting creative fodder for my paintings involves going out onto the street with a camera in hand. As my country becomes more economically divided it will undoubtedly become more pronounced on the streets I photograph.

Cling

I have finished Cling. This one has been a bit of a long haul, but very rewarding. I started a new painting yesterday that I'll share tomorrow. I can tell that many of the things that I had to work out in this painting have poured themselves right into the new work. I guess that's the great part about being an artist for me. I never stop learning, experimenting and striving to achieve a new level of work.

My goal this week is to finish as many of the paintings that have been just hanging out in the studio not getting done finished up. I took the week off to pour myself into the work, so that I don't have to feel rushed during the rest of the month preparing for the Modified Show in October. The opening will be October 18th, 6 to 9 PM at Modified Arts. I'm really excited to be showing on my home turf next month. It's been a while since I've shown in Phoenix.

I started a Facebook page www.facebook.com/jhowardpaintings as well as another means that people can see what's going on inside the studio. I've been doing the blog for a long time, so I will update the same as usual along with smaller studio updates. It's nice to snap a quick photo with my iPod and make a  small post.

A Worn Out Life in Progress

About midway through the first gas station painting A Worn Out Life, from my Benson to Lordsburg I-10 trip. This piece is 36x72 inches, so it's taking just a little while. This station was in Bowie, Arizona. I almost had the feeling that the rest of the town wasn't far behind this station. I have a feeling that most the population depends on the little bit of agriculture in the area. There were groves of pecan trees from the look of it.

I've been listening to Dakota Suite & Emanuele Errante a lot while painting this one, so I named the piece after one of their tracks. Well, the track that I've listened to repeatedly while working on the painting. It's fitting really when I look at this station. There were a few incarnations evident.  I could see several layers of Texaco graphics, followed with a layer or two of when the station became independent.  I could also tell that the pumps were replaced at some point, because they don't match the architecture of the building.  I omitted the background buildings, but it looked like the owner and station mechanics lived on site, so it's very likely this station was open 24hrs or at least had later hours than most. It's  amazing how much you can deduct from simply taking some time to look around at the little details.

I also had a sense that the station and surrounding buildings have been used by transients. At one point I climbed down into a wash beside the station to capture both the Texaco sign and the station in the same shot. I discovered hundreds of foot prints in the wash with discarded clothes and water bottles. Just beyond where I was standing was a tunnel that led underneath the freeway, so my thought is this is likely part of a route into the country from Mexico. That of course explained why the building's lights were still on.

The Weight of the World

I finished The Weight of the World last night not long after my last post. It was one of those moments where I was working and I simply looked up and realized it was finished after I shored up the linens up above the figure.  I proceeded to start work in earnest on If I Only Could below.

With the speed in which this latest batch of paintings are flying off my easel I feel like I should take three months off from painting more often. It's  been like kinking up a hose for a few seconds and then letting go. I should finish If I Only Could this afternoon and I'll go ahead and start the next painting. I'm really in the zone right now, so I'm simply going to keep it going. I have three more works figured out, so I'll need to break this weekend and get going in the sketchbook and continue designing "The Unknown Lovers" series. The working title has shifted. I may not give the series a formal name. The works are related, but their supposed to function as stand alone paintings.

Guilty Glance

I finished up Guilty Glance yesterday, just in time to submit it for it's intended exhibit. I was keeping it completely black, white and grey for a possible submittal for that show, but the painting really needed color to come together.  Not much, but enough to give it a greater sense of depth. I do have to admit that I feel I've fallen into a pattern of being some what obsessive with each painting I paint. It seems as if my perfectionist streak has just been running wild. It's not really a terrible thing, but it unsettles me to be less prolific in a time when I desire to produce twice as much work than I am.


It might just be a phase and it will simply pass. So much of who I am as an artist goes on beneath the surface of my conscious mind. I may just be climbing up the steep slope of a new artistic plateau and once I get to the top my prolific nature and snap decisions will return. For this moment, I'm caught in the struggle of reinventing the wheel with each canvas I paint.

Gothic

Escape Plan has been selected to be part of Gothic an exhibit at the Orange County Center of Contemporary Art in Santa Ana, California. Here's the link http://occca.org/EXHIBITIONS.html. The Opening Reception will be Saturday February 4th,2010 - 6pm to 10pm.

I've also been working on After the Rain above. I took a little time from the easel last week to update my artist statement and resume. It wasn't the most enjoyable way to spend the week, but it's one of the necessary parts of being an artist. I have always found working on my artist statement to be difficult. I feel a big part of this difficulty is partly due to the fact I'm trying to formally put words to what I do visually. In my blog I keep things pretty casual, which is easier. My mentor Dave Sklar mused this morning over breakfast that "the reason the artist statement is so hard to write is that in essence, it's an artist's epitaph of who they are and what they're about, if a bolt of lightning was to strike them down latter today." That might be a bit melodramatic, but in essence, yes I would want my current artist statement read at my wake when I depart. Hopefully, that's a very long time from now when I've painted thousands of paintings.


Well back to After the Rain. It's been a fun little painting. It's odd, but I felt it should be a small work based on the sketch. Now that I'm into the painting I almost feel as if it should be bigger. I may have to paint a larger version latter. I actually want to do a series of smaller works to work out some color schemes.  I have four distinct bodies of work in my head at the moment and I want to use unique color palettes for each of them. There will be some subjective differences as well, but I want to challenge myself a little more.