Barbados Show
“Transitions”
The work in this exhibition is a rare glimpse into the transition of process, concept and form in my work. Looking for new ways of communicating complex messages has led me to an exploration of various forms and styles. This explorative and transitionary period has led me to a study of elegance. Using the concepts of subtraction, seduction, symmetry and sustainability has led me to a style that is provocative and engaging. Currently, I am using this technique to expound upon the impermanent and transient nature of self. There is a great amount of tension between the body as a beautiful, physically present, product of history and the body as a fleeting and temporary existence. While working with this theme of impermanence the tragedy in Haiti struck adding sobering poignancy to the motif. We have to be able to see with eyes focused on our beautiful physical reality as well as the elusive elegance of our mortality.
“War” – 47″ x 33″ Acrylic on Canvas
Duppy Conqueror, 40″ x 24″ Oil on Canvas
Dreaducation, 30″ x 40″ Acrylic on Canvas
Bi Nka Bi (We should not bite each other) 40″ x 48″ Oil on Canvas,
- Identity Study 18×24 Oil on Canvas
Identity, 22″x18″ Oil on Canvas
Ex Nihilo, 48″ x 60″ Oil on Canvas
Burden of Dust 30″ x 24″ Oil on Canvas
Vie de la Pousiere 60″ x 48″, Oil on Canvas
Portrait of Impermanence 40″ x 30″ Oil on Canvas
Dust Walker 30″ x 40″ Oil on Canvas
Boys Study 9″x12″ Oil on Canvas
Violinist 30″ x 40″ Oil on Canvas
Bassist, 40″x30″ Oil on Canvas
Saxophonist 40″ x 30″ Oil on Canvas
Unorthodox method for stretching canvas
This article will not be interesting to everyone. I had a hard time convincing my wife that it was interesting. The traditional method for stretching canvases over a stretcher or strainer is to stretch from the center out to the corners. It’s logical, it’s traditional, it’s the way things are done.
James Bernstein is an art conservator and otherwise spends an inordinate amount of time thinking about how paint behaves on canvas and how canvas behaves on a strainer/stretcher.
This article he wrote is pretty revolutionary to me and I may start stretching my canvases this way. You can find his article here: http://www.goldenpaints.com/justpaint/jp17article1.php
Winter Figure Paintings
Here are some of the paintings I did over the winter break. I’m loving this dripping technique I’m doing and I’m excited about the potential for experimentation.
My theme with these paintings is the idea of impermanence that I talked about in the Painting Paradoxes post. I love the tension between then beautiful, physical, presence of the figure, the assertion that the figure is a product of history and yet the impermanence and fleeting nature of flesh. This painting I’m calling Impermanence and is 40″x30″. I feel it is especially successful because of the strategic deconstruction of the body allowing the background to show through. Also the ‘frame’ that makes up the breasts and face by using lighter colors allows the rest of the body to recede a bit.
I look forward to doing more paintings in this style.
The following painting is the same model, same pose, just a portrait format instead. It is also 40″x30″
This painting developed into an Adam and Eve narrative. I’m calling it “Fruit Stained” This piece is 48″x60″
This is the final painting – The model did two poses, one from which I took the reference for the feet and then the other I took the reference for the hand. I particularly like the use of color and just the fine tuning of some of my dripping technique. Compositionally, I love the repetition of the fingers and then toes as they form an arc. To me the visual “chord” of the fingers and toes needed resolution and so I added in the physical balance of the blue orb along with the color balance of a cooler tone.
Some of these paintings will appear in the Barbados and Washington exhibitions.
Figure drawing/painting in Dallas
The purpose of this post is to start an initial inquiry into what the demand would be for a non-instructed figure drawing/painting session in Dallas. I am anticipating the canvas stretching business to slow down a bit over the summer and so starting in the spring I may open my studio a couple days a week for people to come in and work.
Here are a couple advantages to working in an environment like this:
- Flexibility. You don’t have to commit to a semester of classes and you can come and go when you need to.
- Creativity. You have the opportunity to experiment without the academic pressures
- Convenience. We would most likely set up in the evenings so you could swing by after work.
- Cost effectiveness. It can get expensive hiring a model, so we would all share the cost of the model. Sessions may start at $15 for a 3 hour session.
- Camaraderie. You have the opportunity to engage with other artists in the original context of a non academic creative community.
- Improvement. While you don’t have to take constructive criticism, you will be among a group of people who are interested in portraying the figure and have struggled with some of the same things you are. You will undoubtedly be able to integrate some of their ideas into your work and improve.
So, if you are in the Dallas area and would be interested in coming to my studio for figure painting/drawing sessions, contact me or leave a comment. I’d love your input on how to better tailor the time to your needs. Also, if you have never taken a figure drawing or painting class, this may be a great opportunity to get your feet wet before committing to a great time commitment like a class.
