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Archive for January, 2018

I think as an artist it’s very easy to [equate self-worth with artistic success] because of the nature of the work. If you think of art as a job, then your product is so much more than hours invested. The product is a piece of yourself, so of course if the reception is not the greatest, then it can feel like a direct hit to who you are as a person. I think this happened a lot more when I was younger and still finding my way around. I would doubt my direction when a viewer wasn’t thrilled. The trick for me is not to put more distance between my work and myself, but to close that gap completely. I can see myself in the art that I create, and that builds a wall of confidence.

–Hollie Chastain

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I was reading a bit this morning on one of my favorite websites, Brain Pickings, when I came across this quote from contemporary artist Hollie Chastain, a Tennessee based artist who works in paper art and collage. The quote was included in an article about creative blocks and her words really spoke to me.

I liked the idea that at some point there is no gap between the artist and their work. The artist is the work and vice versa. But that term she employed, wall of confidence, really hit home. I see ias being t something that comes with continuing to stick with what you know is true to who you are as an artist and not being swayed by momentary lapses in confidence. It’s a wall that protects you from the peaks and valleys that come in the course of a career, that shield you from those times when you are not the flavor of the month.

It’s a wall that allows you to fight off creative blocks, knowing that you are secure in your own vision and the work that flows from it.

When that wall is there, you– actually, I should be saying I here–just have to get to work. And that is what I am going to do.

Thanks for the good words, Hollie.

You should check out Hollie Chastain‘s work. Good stuff. You can get to her site by clicking here.

I Came to Get Down-Hollie Chastain

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Warming It Up

I like winter. The cold and the snow don’t bother me as a rule. But in these extended periods of cold, when the temps hover around zero and below with the winds making those temps feel even more perilous, I long for warmer weather. 30 degrees sounds like a balmy heaven at this point. Light jacket weather.

But you live with the weather you have. When life gives you frozen lemons, you make frozen lemonade. Lemon squishies?

So, it’s a cold and quiet landscape outside my studio windows and I’ll revel in the hard beauty that is there while I feel a little warmth from this morning musical selection. When it comes to warmth, Ella Fitzgerald singing Gershwin’s immortal Summertime from Porgy and Bess fills the bill for me. When the livin’ is easy…

Enjoy this performance, think warm and have a great day.

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I stop every time I go back through old posts on the blog and come across this photo. It makes me think about how we constantly take in information in many forms and what we do with that input– how it affects our perception and vision as we move forward. As an artist, this is the fuel that feeds my furnace. 

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I was listening to music this morning as I read email and puttered around. My iPod was docked and in random mode so anything could come on.  At first one of my favorite pieces, Tabula Rasa from composer Arvo Part, played. It’s a modern classical piece that I have always identified with. Tabula Rasa translates as empty slate and was actually very influential in a lot of my early painting, helping me visualize the feeling of wide space as I painted.

Next up was Highway Patrol from Junior Brown, which is worlds away from Tabula Rasa. It’s clunky and chunky and throttles along on Brown’s deep twangy voice and his unique guit-steel guitar licks. I began to think about how the mood shifts so quickly between the two selections, how the mind is suddenly thrown from silence to chaos and how in the vacuum of that contrast something new is being formed

Something very interesting in this contrast. I began to wonder if this has an effect on my painting, on strokes and color selection.  Am I looking for different things in my work when different types of stimuli are present? It’s something I’ll have to examine further.

The picture shown is of a visual/psychological phenomenon called the contrast triangle. Just above the reflected light on the water is a dark triangle in the sky, tapering from the area above the lit reflection on water up to the moon/sun in the sky.

This triangle is not really there.

If you cover the water, the darkness fades away. Go ahead, try it.

The triangle only exists in our eyes and minds. Our reaction to the reflected light creates something new, a different form. Don’t know why I put this in today except that maybe this little area of created vision is similar to the influence of other stimuli on a person’s creative work.

I don’t really know.  I am working off the cuff here, you know.

Here was the next song that came up this morning, perhaps the third leg in my own personal contrast triangle.  It’s another favorite, Gillian Welch performing with her husband David Rawlings, with Miss Ohio.  What this triangle will produce in my eyes is yet to be seen but I am sure it is something.  We’ll see…

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Maybe it is the extreme coldness or just the prospect of facing another year that might very easily resemble last year. Whatever the case, I find myself in sort of a dark mood, one that has slowed my creative process a bit as of late. I feel stuck in a slightly dark rut but don’t feel particularly worried about it as I have plans on digging my way out of it very soon. But this momentary darkness had me reexamining the work of Ivan Albright, a painter I featured here way back in 2009. I’m replaying that blogpost below with the addition of a video of his work and a few more images. It’s ominous stuff but well worth the look.

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This painting on the left, And Into The World  There Came a Soul Called Ida, is the work of the late Ivan Albright. Not a household name by any means, but if you’ve seen his work you’ll definitely remember it.

I saw a large  retrospective of his work a number of years ago at the Met and was fascinated ( and a little creeped out, I have to admit) by his subjects and the darkness and tone of the work. But it was the incredible textures of the paintings that I found amazing. They were very sculptural on the surface, with deep moonscapes of color, layer after layer of paint that seemed to be shoved and mashed on to the surface. It was unlike anything I had ever seen.  It was obviously the product of a huge amount of labor but it wasn’t labored. There was something very beautiful there that transcended the unflattering depictions of the paintings.

Albright was best known for the painting he produced that was used in The Picture of Dorian Gray, the 1945  film version of Oscar Wilde’s famous novel of a corrupt young man who defies the ravages of time while his portrait reflects the true result of his debauched life. His painting was the horrifying image at the end of the film.

I’m still fascinated by his work even though I have to admit I get a queasy feeling when I really take in the whole of his characters, like seeing a car wreck and not being to turn away. They are horrible and beautiful at once. I now also really appreciate the epic efforts that must’ve went into creating these pieces, the hundreds of hours that must have been spent.  The patience of maintaining vision.

So check out the work of Ivan Albright. You don’t have to like his work  but you should be aware of it…


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Ring out the false, ring in the true.

Alfred Lord Tennyson
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That’s a resolution I think many of us would happily accept for this new year.

Here’s a little music from the late great Johnny Otis. You most likely know him best for Willie and the Hand Jive but if you get a chance take a look at his bio sometime. An interesting guy. This is his Happy New Year Baby.

So, have yourself a good day and may 2018 mark the return of the power of truth. Happiness and peace to you in this New Year.

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