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Archive for June, 2009

 Climbing Beyond the Blue There was an episode of Mystery! on PBS starring Kenneth Branagh as Swedish detective Wallander.  It was okay, nice production but nothing remarkable in the story but there was a part at the end that struck home with me and related very much to my life as a painter.  Wallander’s father, played by the great character actor David Warner, was, like me, a landscape painter.  Now aged and in the beginning stages of Alzheimer’s, his son comes to him and intimates that he can’t go on as a detective, that he can’t take the stress.  The painter then recalls how  when Wallander  was a boy he would ask his father about his painting, asking, “Why are they always the same, Dad?  Why don’t you do something different”

He said he could never explain.  Each morning when he began to paint, he would tell himself that maybe today he would do a seascape or a still life or maybe an abstract, just splash on the paint and see where it takes him.  But then he would start and each day he would paint the same thing- a landscape.  Whatever he did,  that was what came out.  He then said to his son, ” What you have is your painting- I may not like it, you may not like it but it’s yours.”

That may not translate as well on paper without the atmospheric camera shots and the underscored music but for me  it said a lot in how I think about my body of work.  Like the father, I used to worry that I would have to do other things- still lifes, portraits, etc.- to prove my worth as a painter but at the end of each day I found myself  looking at a landscape, most often with a red tree.  As time has passed, I have shed away those worries.  I don’t paint portraits.  Don’t paint still life.  I paint what comes out and most often it is the landscape.  And that red tree that I once damned when I first realized it had became a part of who I am.

I realized you have to stop damning who you are…

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The Life and Death of Colonel BlimpI’m taking a small break from talking about my show that opens Friday to mention a film that is showing today on Turner Classic Movies.  They’re showing several films of the great director Michael Powell and finish up with The Life and Death of Colonel Blimp from 1943.

It’s probably not a movie many of you know and that’s a great shame.  Colonel Blimp was a popular comic character in the British papers of the 1930’s, an older, round British officer who was a throwback to the Boer War, always recounting his exotic exploits in the far reaches of the Empire in a doddering, foolish manner.  The movie begins in WW II Britain and the main character, Clive Candy, is an older officer who has become the very embodiment of Colonel Blimp.  The movie traces his life and shows, sympathetically, how he came to be such a character.  It was a very controversial movie in wartime Britain because of the presence of a German officer who was portrayed as a sympathetic character.  Even though he was anti-Nazi, the portrayal of any German officer in such a favorable light drew the ire of Winston Churchill and the British government.

Visually, like all films from Powell and partner, Emeric Pressburger, Colonel Blimp is stunning and has the beautiful saturated color that are present in all of Powell’s color films, like The Red Shoes or The Black Narcissus or my favorite, A Matter of Life and Death.  There is a short sequence at the film’s beginning that could easily be the first example of the modern music video.  It consists of a group of troops on motorcycles speeding through the English countryside to the sounds of rollicking big band music.  The filming is sharp with daring shots and gives you the sense of the speed and power of the bikes as their movements were in sync with the crash of the music.  When I first saw it I was thrilled.  It had such a modern feel, something I wasn’t expecting in a film from 1943.  I wonder how many filmmakers had seen that short segment and been influenced to further highlight a scene with music.

I don’t usually like to recommend movies for much the same reason I don’t like to recommend specific art.  Film, like art, is a really personal preference.  Totally subjective.  What I may see in a film or piece or art may elude you and vice versa.  But if you get the chance see Colonel Blimp or any of the other Michael Powell films.  They are visually beautiful and greatly interesting.  His eye for composing the image that you see reminds me of the way John Ford put his scenes together.  Both have a truly artistic feel, adding an elegance and magnificence to almost every shot.  There is nothing mundane in any of their work.  Good, good stuff…

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Out of Darkness        Well, the work for my show that opens this Friday has been delivered, which is a great relief.  While I like having a deadline or a destination to shoot for with my work, there is an immediate sense of relaxation when the task is completed.  Unfortunately, this is often replaced by the stress of fretting over how the show will be accepted at the gallery.  Will people connect with the work?  Will my established collectors see work that will fit in with the paintings  they already own?  Will people even show up?

In the past these questions would have made me a nervous wreck in the week between delivery and the actual show.  This year however, I don’t have nearly the anxiety of past shows.  I’m not absolutely sure why there appears to be more calm this year but maybe it has to do with this being my tenth show at the Principle Gallery and something like my twenty-fifth solo exhibition in galleries overall.  After so many shows I’ve come to realize that I can’t control anything beyond the creation of my work.  Provided I am satisfied and excited by the work, once it is out of my hands the level of success, good or bad,  of the show is dependent on factors on which I have little impact.  The economy.  The weather.  The gallery’s promotion of the show.  These things and many more can have an effect on how well a show does.

And, as I said, all are out of my control.  So, why worry?  

There’s also, finally, after so many shows, a sense of acceptance, at least in my own mind.  For years, I  harbored the fear that my work was not worthy, that it had little validity and may never be accepted by what I imagined the art world to be.  But time has shown me that there has been a validation through the years that comes in the form of the response to the work that finds its way to me.  Many comments, notes and e-mails over the years have convinced me that there is an authenticity to this work, that is has truly had an impact on the lives of others.  For a simple person such as I, can there be a greater validation for the efforts and long hours spent?

So, time has finally afforded me some relief from my normal state of anxiety as I wait for the opening of the show.  Light has appeared and I am out of the darkness.  And that is a good thing…

The painting above is fittingly  titled Out of Darkness and is part of the show about which I’ve been talking, which opens Friday, June 12 at the Principle Gallery on King Street in Alexandria, VA.  The opening starts at 6:30 and I will be there to answer any questions.  Hope to see you there…

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The Coming Together

 

Every man is a damn fool for at least five minutes every day; wisdom consists in not exceeding the limit.

                    – Elbert Hubbard

 

I came across this quote and wanted to use it not just because I find it humorous but because I wanted to just point out the life of Elbert Hubbard who started and headed the Roycrofters in East Aurora, NY in the early part of the 20th century.  I came across the Roycrofters many years ago when I acquired several of Hubbard’s books.  They were printed and bound by the Roycrofters and were beautifully done with wonderful papers and great bindings.  I discovered that the Roycrofters was a community that Hubbard had assembled that created many artisan products in the Arts and Crafts style- books,furniture, pottery, hammered copper and  more.  All beautiful stuff.

Hubbard was an interesting guy whose life ended in a fittingly interesting way as he was aboard the Lusitania, the ocean liner controversially sunk by German u-boats in the early days of World War I.

I don’t have a lot to say about Hubbard except that I’ve always admired his aesthetic works and the humor and wisdom he imparted in his books.  If you get a chance, look him up…

 

 

 

 


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Vade MecumWell, it’s Saturday and I’m on the road to Virginia, Alexandria specifically, to deliver the body of work for my show that opens next Friday, June 12th.  It’s a trip I don’t mind making since it marks the end of a hectic period where there just doesn’t seem to be enough time to get everything done.  

My trip is relatively easy, as easy as any  day with ten or eleven hours of driving can be.  Traffic is usually very light on Saturday mornings, especially in the early hours in which prefer to leave, so it gives me a chance to just glide along and let my mind wander a bit.  

One piece that will be keeping me company on my ride is above, called Vade Mecum, which translates from the Latin as “Go with me” and is usually meant today as a reference manual or something that is carried to instruct one.  I liked either definition and felt that both the literal translation and the object that is carried with you fit this piece.  I really like the depth that goes into this picture and get the feeling that it speaks of a journey and those intangibles which we carry with us as we travel along.  Thus, vade mecum

I’m gonna leave you with some classic Bob Dylan that was one of my favorite singles as a little kid growing up.  Thank god for my sister and the influence her musical choices had on a 7 or 8 old year kid.  I feel so fortunate that I was weaned on this kind of stuff and feel a little bad for today’s kids and the inane kid music that is everywhere– the Wiggles and such.  They may never know what they’re missing.  Anyway, here’s “Positively 4th Street”

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A Strong Will StandsThis is another new painting, titled A Strong Will Stands, which will be going to the Principle Gallery for my show that opens next Friday, June 12.

This is a piece that I think shows better in person than here online or in print.  I think the subtleties of the sky’s color and texture and the overall impact of the painting as whole are somewhat  lost in replication.  That’s why I think it’s important for most work to be seen in person in order to feel a complete sense of it.

This piece is definitely about the large color blocks that comprise the bulk of the picture plane and the movement that is taking place within them as well as the way they play off each other.  There’s a real sense of strength in this piece that I hope comes across to the viewer.

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The Silent Eye

The Silent Eye Soon silence will have passed into legend.  Man has turned his back on silence.  Day after day he invents machines and devices that increase noise and distract humanity from the essence of life, contemplation, meditation.

              – Jean Arp

 

Perhaps Arp was right.  This new piece, The Silent Eye, reminds me of this quote and how we have filled the world with noise and have lost the ability to bear the silence, to just be in the moment without the need to fill it with the din of our existence.  Will we even know what we have lost when there is no more silence?

 

 

 

 


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Let the World See... I’m pretty busy today, almost finished with the final touches on my show that opens next week at the Principle Gallery.  This has been a tough one to finish due to some chronic back problems that have slowed my pace as I move through my processes.  It makes me realize how precious the simple idea of movement is to my quality of life.  But it’s all part of the bargain so I slog on.

Thought I’d fill today with the piece shown here, Let the World See…, that is part of the show which opens next Friday, June 12, and a song from one of my favorites, John Prine.  This is a song titled In Spite of Ourselves and includes the distinctive voice of Iris Dement singing along.  It’s a catchy little ditty having Prine’s typical humor and wordplay and is a good listen.  

Have a great day and enjoy…

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Calling In the New Day This new painting, to me, is a reflection of myself and the anticipation I get for the new day.  I am a habitual early-riser, often up before the sun breaks over the hill to the east of us.  Often in the dark.  Once my eyes open and catch a glimpse of any light, I’m up.  At this time I always have a feeling of something close to anxiety but with an edge of optimism, even excitement.

It’s as though each new day has a new capacity for possibility, as though this might be the day that something new and exciting happens or a breakthrough discovery is made within my work.  It’s a feeling that has propelled me into every new day for a long time now and on the occasional day when I find this feeling lacking, it’s as though I’m walking in uncharted territory- I feel lost.

But in this piece I see a good day, myself as the red tree perched alone, facing the first light of the day while the rest of the world sleeps.  This could be the day…

This painting is called Calling In the New Day and is again one of the pieces that I will be exhibiting at my upcoming solo show at the Principle Gallery, opening June 12.

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Hearts EntwinedHearts Entwined is the title of this painting which is set  to be shown at the Principle Gallery in Alexandria, VA on the June 12th opening of my solo exhibition there.

It is my 10th show at the Principle and quite honestly, before that first one back in 2000, I never thought this was a possibility.  The success of that first show really opened up new paths of potentiality that might have gone untrodden otherwise.  

This piece is a simple composition but is carried by the strength and intensity of the colors as well as by the texture which is formed by multiple layers of  torn watercolor paper and gesso, a process I use on rare occasion.  It’s not something I want to overuse as part of my overall process so that it becomes ordinary when seen.  When it’s used sparingly, it stands out a bit more.  

The simplicity of the composition actually heightens the feeling of the two trees that are entwined, as though all else in the world has faded away except that which is immediately present in that moment.

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