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Archive for January, 2009

Rousseau The DreamSunday morning and I’m thinking, of all things, about Henri Rousseau.

I’ve always been attracted to his work, mainly by the quality and density of his color.  It is rich and deep and translates easily to the eye and mind.  The lushness of his many greens and the way they all come together so cohesively is another factor.Rousseau A Carnival Evening

Then there his life as a self-taught painter, a man who was never taken quite seriously in his lifetime.  Quite compelling and an object lesson for artists everywhere to stick with their own vision and not be swayed by the style of the day to merely fit in with that which prevails.

Obsessionism

That’s the first time I’ve used this term and one that my wife, Cheri, uses to describe my work.  I’m still trying to define this definition.  In my head, it’s the intoxication of color, when I’m in front of a piece and the color I’m working in is deep and strong and I seem to be within the paint itself, engulfed and embraced.  Time is irrelevant at that moment and floats away.Rousseau Jungle Sunset

Thought becomes mute.  It is not from the front of the brain anymore, it is deeper, instinctual and reactive.  Ancient and ingrained.

It becomes a different form of expression where language is reduced to sensation, the feel of the wind above, the excitement raised by a mere arc or curve.  The depth of color.  Raw emotion.

Obsessionism.  It leaves me at a loss for words to properly describe what the term means to me but I see it in the work of Rousseau and perhaps that is why I am so drawn to it.

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To Every Question...Sometimes I wake up and the mind is still tired.  Not as sharp as usual, everything filtering in as through a haze.  There’s a fatigue of thought and will.

At these times, I wish I were a smooth stone…

A smooth, cool stone at the bottom of a clear stream, the waters rushing from one place to another above me.  The world beyond the banks of the stream clattering noisily on and I’m just there.  As always. 

Stoic and silent.  Cool and calm.

I wish I were a smooth stone…

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apI’ve talked before about personal mythology, which is taking ordinary events and finding details in them that give them depth and interest. 

For example, after I left high school I worked in a factory for about five years.

Left alone the statement says nothing of interest to anyone but me and even that is borderline.  But when you find the details that fill out this time spent,  it becomes more interesting.

I worked at the A&P factory in Horseheads in the late ’70’s and early ’80’s.  It was only open for about 17 years or so and was torn down a few years ago to make way for yet another shopping center.  But in its time it was a huge factory (its roof was alone was over 37 acres in size) that could reputedly produce enough food to supply the population east of the Mississippi each day.  It produced all types of food- pastas, juices, teas, canned foods of all sorts, condiments and on and on.  I worked primarily in the candy department, as a candy cook, making jelly beans, candy corn, thin mints, chocolate covered cherries, etc.  

It was actually interesting work at times but the real interest came in learning the details of the lives of my co-workers.

There was Lester Clark, a black man who was like a big teddy bear with his gentle nature and easy humor.  He had ran jazz clubs in his native New York in the 50’s and ’60’s before fleeing the chaos and crime of Harlem in the 1960’s to settle upstate.  He had seen and known many jazz greats but now was the thin mint maker.

Then there was Rich Dempsey.  Rich was a little Irishman from County Cork who had came to the States in the late ’40’s and never went back.  He had a quick grin, huge laugh and  legendary toughness.  There were stories of fist-fights at the factory he had with guys twice his size that were told periodically at the lunch table.  He taught me some Gaelic curses.

There was John Taylor.  He was a very thin man with a neat appearance and quiet manner.  He looked like a cat with his neatly trimmed mustache  and wire rim glasses.  He would quietly approach new guys and  calmly ask, ” Lick your nuts for a nickel?” just to see how they would react.  Most freaked out and John would smile a very small, wry grin.  He had been a Marine, had a history degree from Penn State  and had been in the Foreign Service in the Middle East in the ’50’s.  He had lived in Beirut, Jerusalem and Damascus, a city that he spoke of with great affection and nostalgia.  He would talk literature with me and taught me Arabic curses.

There was Rasputin.  I won’t use his real name.  He was a convicted rapist who had spent 6 years in Attica and had been there for the riots.  His ribs were a mass of scar tissue from having them broken by the authorities after they regained control of the situation.  He was called Rasputin for the wild unruly beard that adorned his toothless face.  No uppers at all.  He looked like an old hillbilly until he took off his shirt.  The guy was ripped from many years of working out in prison.  He was a scary little guy, crude and angry.   I got along well with him but working with him was like having a strange pit bull around –  you never felt too comfortable.

There was Nelson Waffle, a country boy from northern Pennsylvania with a twitchy , exceedingly nervous demeanor.  He, too, had few teeth but had a passion for music.  He could play all types of instruments but played guitar best of all.  He spoke of his Gretsch guitar as though it were his lover and had played with Chet Atkins and had backed Elvis several times while they were both in Germany in the Army

There was Jim B. who had spent two tours in Viet Nam as a medic and was still living it in his mind through those A&P years, which manifested itself in alcohol and drug abuse.  Jim was a smart guy with a great sense of humor but the war stories he told were horrific.  He was never shy about telling his tales but his eyes would always go a bit dull and distant when telling them, like he was only a few steps from that time.

When war stories were told Tommy K. from Corning  would regale us with his stories of going through Europe in WW II  as a radio operator for Patton’s forces.  He had been in Berlin at the end and told of the terror in the Germans who begged to not be turned over to the Russians.  He also told of the constant shooting from across the river where the Russians were receiving the German prisoners.  He told, with damp eyes, of shooting a young  boy armed with a hand grenade from a second story window.  Tommy lived as much in his distant WW II memories as Jim B. did in his more recent war experience.

For a young guy, the texture of these lives made the droning, mind-numbing hours and hard labor somewhat easier to tolerate.  There are so many others I could have mentioned that would add even more layers to this little sliver of my own personal mythology.  I think though that this enough for now.

So, if your days seem drab, look around– there’s a story everywhere…

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Today is the birthday of Elvis Presley.Early Elvis

I’m not going to wax rhapsodic about the man or what he has meant to so many people.  Everyone knows the facts:

Elvis was and is big.

For me, it’s memories of going with my sister and cousin to the movies to see his films.  I was 5 or 6 years old but even then, Elvis’ charisma was unavoidable even in those sometimes awful films.

I remember sitting in front of the TV with my dad in’68 when Elvis made his comeback special.  We both sat mesmerized as we watched,  which struck me because my dad was not one to show much obvious interest in a lot of things.  It was an amazing thing to watch.  Elvis had the air of absolute desperation around him, as if everything in the world hung on  him pleasing us and gaining our love and approval.

 It seemed to be, to quote an Elvis hit, now or never.

It was a mythic performance, obvious to even a 9 year old.

But like many mythic beings, intermingled with greatness there was the aura of tragedy and sadness.  That’s how I think of Elvis.  A simple man elevated to myth and burdened with a talent and charisma with which few are equipped to handle.

Here’s another Gillian Welch song, Elvis Presley Blues,  which kind of sums up that feeling.

Happy birthday, E…

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Beyond the CrossroadsOccasionally, certain paintings just don’t strike a strong enough chord with someone and remain unsold.  They move from gallery to gallery, hoping that a different area will have that specific person who sees what this painting has to offer.  Eventually, they run their course and  come back to my studio.

I’ve been pretty fortunate in that this doesn’t happen too often.  But when it does it gives me an opportunity to really take another, closer look at the piece and try to determine if there is something missing or if the viewing public just didn’t see what was there.  Sometimes, the answers are obvious.  The painting be a large piece which sometimes takes a bit longer to find a home– not everyone has the room or cash for a very large piece.  

Sometimes after a piece has been in the studio, I begin to see flaws that I might not have seen before.  A lack of depth as the eye moves into the picture plane.  Flatness of color.  Small things that might be imperceptible but are just enough to keep someone from fully connecting with the work.

But sometimes a piece comes home and I’m stumped.  This is one of those, a painting called Beyond the Crossroads.  I remember completing this painting and feeling that this was a strong and special piece.  I was sure it would reach out and touch someone but it made the rounds and ended up hanging in my studio.  I look at this piece everyday and am always pleased but puzzled, my eyes scanning the picture to find that element that might be the detraction. 

But I always end up happy that I have this painting in my possession because sometimes I have regretted letting go of those strong and special paintings.  Perhaps, this piece was destined for me alone…

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The CreeperThe Creeper is another of the Exiles series although he is an anomaly in the series.  He does not mirror the sense of loss or suffering of the other pieces.  He is not the mournful exile.

He is the menace of dark dreams. He is always there, looming halfway in the bedroom window.  

But, while he is a little scary, there is a bit of whimsy in his appearance.  He is more cartoonish than the others.  When I look at this face I am constantly reminded of the movie parodies from the beloved  Mad magazine of my youth, with their Mad Magazine Godfather Parodyoversized, caricatured faces.  This softens the whole feel of the piece for me and makes him less terrifying.

Now, whether someone without that same frame of reference will see him in the same way is another question.  Without that reference, maybe he is as creepy as his name.

For me, The Creeper  always brings back the memory of a young friend who loved this painting and truly identified with everything about it.  He saw the humor but felt the darkness of it as well.  He was a vibrant, whirlwind of energy  who knew well about the personal demons so depicted in this painting.  He was a tortured personality and took his own life several years ago.  For him, The Creeper was all too real.

This one’s for you, Scott…

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The New Day BreaksAnother year, another first painting of that year…

This is tentatively titled  The Coming Light  and is a continuation of the Red Roof series from several years ago that I mentioned in an earlier post.  It’s a 16″ by 20″ canvas and  is painted in a more traditional, additive way than my typical work.  By that, I mean that the paint is continually added to build up the surface.  Typically, my work consists of adding layers of paint then removing much of it until I reach a level of coverage that suits my eye.  Kind of like carving away the paint to reveal what is hidden in it.

Forest Floor-early experimentThe piece to the right is an early experiment in my normal technique and a good example of what I’m trying to describe.  The paper was originally covered with a layer of dark blue-violet paint.  I then went back in and began to lift the paint to create layers of differing coverage to reveal the forest floor and tree trunks.  This became the basis for the technique that  is used in the bulk of my work.

When I do paint in a different fashion, such as in The Coming Light above, the important thing for me is to maintain my style throughout the work.  I want someone who has only seen my typical work to immediately recognize this as mine and to feel the same emotions that I hope are raised.  This continuum is vital and I think this piece achieves the desired goal well.  

I’m working on a larger piece in this manner that I will show in the next week or so.  Stay tuned…

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HarlequinWell, it’s Sunday morning and I think it’s time for a little music.  Thought I’d play a great version of one of my favorite songs, 1952 Vincent Black Lightning,  written and originally performed by Richard Thompson.  This version is from Del McCoury and puts a wonderful bluegrass twist on the song that fits very well.  I enjoy hearing songs done in a different genre like this.  I’d love to hear Del McCoury do a version of 409 from the Beach Boys.  It’s a song built for bluegrass and his flat, plaintive voice.Vincent Black Lightning

There’s something very lyrical in the name of this mythic motorcycle.  Vincent Black Lightning.  I think I’d like to come back in another life with that name.  I can only imagine…

Anyway, until that happens, give a listen and enjoy…

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dblackwood7-captain-ned-bishop-home-in-wesleyvilleI just wanted to say a few words about another influence on my work, this time from Canadian printmaker David Blackwood.  I first stumbled on his work several years ago when I came across a documentary on him called, fittingly, Blackwood.  It was nominated for an Oscar as best documentary when it came out in the mid-70’s and brilliantly depicts his technique and how his art and the personal mythology of his home are intertwined.

David Blackwood  Man Warning Two BoysMuch of his work deals with Newfoundland and Labrador and its hardy inhabitants.  There are whalers and Mummers, lost parties adrift on the ice, colorful kites flying over a frozen starkness and houses being dragged across ice.  It is fascinating work and beautifully done.  He has created his own visual vocabulary that resonates in his pieces.

This meager description of his work doesn’t do it justice and I encourage those interested to do a bit of researchBlackwood Daybreak The Labrador Sea and discover this treasure for themselves. He has a beautiful website that I will add as a link and there is a beautiful book, David Blackwood: Master  Printmaker that I highly recommend, with a foreword from Annie Proulx, whose own The Shipping News owes much to the mythology that Blackwood’s work depicts.

Really great stuff.  I always enjoy pulling out his book and absorbing the great compositions and sense of place he creates in his work.  Always inspiring…

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Glory RunI do a few paintings every year that have a boat riding the waves.  They’re simple compositions and are done mainly for my own self-satisfaction.  I really like working on simple constructs such as this because it’s such a wonderful challenge to create emotion and depth with only a few elements.  It forces one to focus on the more subtle aspects of the painting– the quality and depth of color, the delicate interaction of the compositional elements, the way the underlying texture creates tension and motion above, etc.

There are a lot of aspects that I consider when working on  a piece such as this but in many cases this evaluation of them takes but a glance, trying to get a sense of the rightness of each piece.  This something I’ve mentioned before and is something I struggle to explain.  It’s being able to look at something and weigh all the elements that comprise it and determine if they make sense in the eye and mind.  Is there balance, does one element overwhelm everything?  Does one line move organically into another?  Is there a sense of harmony in the colors and do they translate as natural to the eye?

This sense of rightness is especially important in a piece such as this, Glory Run, because so little must say so much and any flaw in the logic of the piece makes it fall apart.  But if all maintains this rightness the impact of the piece increases greatly.

I wish I could explain a bit better but I’ll just let the work do the talking for now…

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