impossible to photograph

I think my paintings should be seen in person.  This blog is being made redundant.

The Sweat of His Brow, 72" x 73", charcoal, crayon, gesso, paper on un-stretched canvas inside a custom wood box

liar

I keep getting asked, when are the windfall of posts coming?  They will arrive when my clone gets out of bed.  He hurt his back.

coming back . . .

My mind has been quite busy in the last month considering my next plot moves, so I've neglected my millions of blog reader.  In the next week you'll get served a windfall of posts.

In the meantime you should know that I have started and almost finished a 6' x 6' canvas and, with the help of Bruce Dorfman, have finally articulated my concept, statement, and process.  This artistic holy trinity will help propel me into the spotlight, even if it's just one of those side spotlights.

new old paintings

Just when I thought they were done (much like a never-ending winter), they called out for another coat.  Here are two new renditions . . . I guess this is why artists actually sell their work . . . so they won't have to ponder how to make pieces better.  But this is the exact reason why I'm not selling my work.  I'm waiting until the time is right and I have a collective story to tell with these pieces.

Echo, 48" x 60", charcoal, gesso, acrylic, paper, and pastel on canvas

Hey Zeus, Maria, 48" x 60", charcoal and acrylic on canvas

studio visit: another canvas on another wall

I took the painting entitled Addie and added a few layers to her.  There are a few more canvases eagerly awaiting the same treatment . . . or not.  They're not really speaking to me this week.

charon floating toward adulthood

Charon Floating Toward Adulthood, 36" x 36", acrylic, pastel, paper on canvas, 2013

Although the white-washed pieces are fantastic--and I want to continue exploring that palette and the softening and addition of layers--the color here feels quite strong and not overpowering.  I like the effect.  It opens up the work to more interpretation and space.  

I believe the work is maturing nicely.  And I like the structure of having a day job with limited time allotted to creation.  It gives me time to ponder and solve problems before putting my hands on the work.  Now I just need to find my sense of humor again, and some threads of sociability.

narcissus no more

Narcissus No More, 60" x 48", acrylic, pastel, charcoal, paper on canvas, 2013

I finally finished my painting from the model whose pose was interrupted by Sandy.  I felt conflicted with the model, and it was seen in my sculpture of him.  Someone suggested that I made him older than he actually was, and when I looked around the room, it seemed that most others made him much younger.  My theory is that the model himself was conflicted with his age.  I have a few friends like that...who do not like getting older and try their damnest to hold on to their youth with superficial veils.

The model was gay (I'm assuming with great confidence).  He was in his fifties, with dyed brown hair, and I think it's quite possible that he had some eye work done.  I couldn't quite get confortable with him and the sculpture ended up feeling overworked and tortured.  Could it be because he passed gas and gurgle burped during his poses?  And then left during the five minute breaks and came back reeking of cigarette smoke--the deathly stench of someone who has been smoking one plus pack a day for 30 plus years.  And I don't think he liked me very much, which didn't help matters.  He would study me with neither curiosity nor admiration when the lazy Susan put us face to face.  It was unnerving.

Then superstorm Sandy arrived.  The studio was closed for over a week, and I found my poor sculpture desiccated when I visited him again.  So for this painting I created a collage with a photograph of the sculpture included alongside a sketch of an ex-lover of mine.  I love the play between the two figures, and I'm quite happy with the results.

Perhaps the brother of "Our Immaculate Lady Pigeon"?

Our Immaculate Lady Pigeon, 24" x 18", acrylic, pastel, charcoal, paper on canvas, 2012 

studio visit: connie

We only have four more days with our January model.  I have tons of work left to do, but this feeling has come over me: she's sort of my first year final exam.  February 1 will mark the one year anniversary of sculpting.  I believe it's time to try my hand at casting.  But then what do I do with the sculpture?

happy new year

I had a great holiday in Alabama, then a super fun party at my apartment to bring in the New Year.  But I've been quite sluggish at work and in the studio, as my novel consumes a great deal of my creative energy.  I just follow my intuition and do as it tells me.  I should begin taking him to dinner.  The one visual art contemplation I'm having these days is about the four big 'Becoming' paintings.  They're giving me an unsettled feeling, which could either mean, move on, or do something else with them.