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“Life is like a tattoo: we have a certain space available and that’s it. The more we fill it with negative elements, the less space will be left for the positive ones. Shape your life like a work of art as you would do with your tattoos, and keep the good in it.

Shape your dreams.”

Roberto Gemori

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At the opening at the Principle Gallery on Friday, as I was speaking with some folks, I noticed a man standing just on the edge of the group, not part of it. That’s not unusual at openings. Sometimes at these things I get to tell stories about the work and people often step up to listen in. After the group departed, this man moved up and said he had something he wanted my opinion on.

His name was Kevin Jobe who explained he was a police officer there in Alexandria and said he hoped I wouldn’t be offended. He was such an affable guy I couldn’t imagine what he could do that would offend me.

He proceeded to pull up his sleeve and, lo and behold, there was the image of a Red Tree painting on his bicep. The tattoo artist had done a great job replicating the trees and other elements of my work, using their own technique for creating texture in the field rows in the lower part of the tattoo, which I really liked. It had the impact of one of my paintings for me.

I was stunned and couldn’t take my eyes off of it. I felt a bit awestruck as well as deeply honored that someone chose that image to permanently engrave on their body. I mean, how do you respond to that?

I told Kevin that I thought it was awesome. And I do. And it is.

He explained that it was still a work in process and he asked for my opinion on how he should finish the sea and sky. Not knowing the tattoo medium too well, I hesitated. It was like looking at a painting that’s it’s at a point where I am afraid of screwing it up because I am not sure which is the next right move. We discussed the possibility of using a swirled pattern in the sky, as I sometimes use in my work. The painting here on the left, Energizing Light, from a few years back has a pattern in its sky ( and possibly in the water) that I think might translate well to the tattoo without crowding out the Red Tree.

Any suggestions from my tattoo knowledgeable friends out there?

I am still very much honored by Kevin’s action though I will point out that I did feel slightly uneasy afterwards. I mean, that’s permanent! It’s not like he had a t-shirt made or carved a red tree out of an old 2×4. That’s his skin and it will most likely, pending a thresher accident on the farm, be with him forever. I have to admit that I felt a little pressure to somehow live up to Kevin’s confidence in committing that image to his skin. I worried that just meeting me might have him doubting his decision.

Hopefully, I can live up to his confidence. Thank you, Kevin, for showing me your work in progress. I am honored and still awestruck. Can’t wait to see the finished product.

On the subject, here’s a little song from the Dropkick Murphys about a tattoo. And the Roberto Gemori from the quote at the top is a well known tattoo designer.

 

 

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Many, many thanks to everyone who came out to Friday’s opening reception for my current show, Red Tree 20: New Growth, at the Principle Gallery. It was great to see so many people, some new and some that I have known for many years now. I am so grateful that people take time from busy lives to come to these events and for the warmth with which I am greeted there.

They provide me with so much inspiration, something I describe as a feeling that there are sometimes hundreds of eyes looking over my shoulder when I am working alone in the studio. Now, that could sound a bit creepy, all these disembodied eyes peering over your shoulder, but let me reassure that it is actually quite comforting. Thanks for looking over my shoulder, folks, for all these years.

And a million or more thank you’s to Michele, Clint, Taylor, Owen and Pierre for making us feel like part of their family. The past twenty years of doing these shows seem to have flown by and I have to reckon that this is because of the friendship that has always been offered by Michele and her staff. They make it seem easy.

Here’s hoping for twenty more, god willing and the river don’t rise.

For this Sunday morning music, I think it would be a crime to not play a little Dr. John who passed on to the next dimension this past week at the age of 77. He had a unique style and voice. His song, Right Place Wrong Time, is one of those touchstone songs from my youth, the kind where you can remember specific moments in your life tied to the song. I was going to play that but opted for another of his more popular songs and a favorite of mine, Such a Night.

I chose the version below because it was part of a funny segment on the early 80’s television show, SCTV, the  show that featured an incredible cast from the Second City comedy troupe including John Candy, Rick Moranis, Andrea Martin, Martin Short, Catherine O’Hara, Eugene Levy and many more. This performance from Dr, John is from a show on SCTV called Polynesiantown, a send up of the movie Chinatown. It made me laugh years ago and when I saw this I decided that it would work this morning.

Give a listen and have a good day.

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If you ask me what I came to do in this world, I, an artist, will answer you: I am here to live out loud.

-Emile Zola

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The show is hung in the gallery. I am relieved and anxious, same as always. It’s been twenty years of doing this, of sweating out–or maybe it’s bleeding out –work for my annual show at the Principle Gallery. It’s always hard but I don’t want to imply that it’s harder than any other job. Every job, every career has its good and bad parts.  You can only hope that the good parts far outweigh the bad.

I think my job does, most times.

I was asked this past week in an interview for a regional magazine how and why I came to be an artist. I think I said that I just wanted to have my voice heard in this life. I wish I had added that I wanted to do all I can to put out work that will hopefully live beyond the limitations of my own worldly life, as well. Just so someone somewhere someday will know that I existed and thought and felt. That I laughed and cried.

That I had a voice that needed to be heard at times.

Maybe that’s what Zola meant by living out loud– needing to be heard.

These kind of thoughts always populate my mind when my shows roll around because in so many ways, I feel exposed and vulnerable on those walls. Defenseless against all judgement and criticism.

But after so many shows, I am almost numb to these fears and doubts. I know my own voice now and trust that it is real. It’s all I have to offer of value and it is that that allows me to live out loud. Like Georgia O’Keeffe said: I have already settled it for myself so flattery and criticism go down the same drain and I am quite free. 

That said, I think this is a very strong group of work, one that carries my voice well enough to remind me that I truly exist.

Hope you can make it to the show. Whether you can or can’t, below is a slideshow preview of the show.

There is also a very nice article and interview at PrincipleArtTalk, the blog of the Principle Gallery, about this show and some of the new work. You can go to that article by clicking here.

Celebrating 20 Years of the Red Tree

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I am traveling down to Alexandria, VA today to deliver the paintings for my annual solo show at the Principle Gallery. This year’s show is my twentieth there and the title, Red Tree 20: New Growth, reflects the voyage from that first show, Redtree, back in 2000. There are a lot of things in this show that make feel this a special show so I am especially eager to see how the work looks in the gallery space.

Because I don’t have any time to write a post this morning, I am sharing a link from yesterday’s blog post from Linda Leinen, my friend from the gulf coast of Texas and a long time reader of my blog. Linda’s blog, The Task at Hand, is always thoughtful and beautifully written so I was thrilled when she devoted some of her wonderful talents to some of my work, rolling it seamlessly into a post about her own experiences coming across chairs– and the red bench above– in her travels.

So, please click here and go to Linda’s site for an enjoyable read and while you’re there check out her page, Lagniappe, where she shares her photos of the wildlife, wild flowers and other aspects of her Texas home along with great short essays and poetry. It’s one of my favorite sites.

And if you’re in Alexandria, stop into to see the work. Hope you’ll enjoy what you see.

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“A man should hear a little music, read a little poetry, and see a fine picture every day of his life, in order that worldly cares may not obliterate the sense of the beautiful which God has implanted in the human soul.”

― Johann Wolfgang von Goethe

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The painting at the top is a new piece that is included in my solo show, Red Tree 20: New Growth, that opens June 7 at the Principle Gallery in Alexandria. It is titled To Stand in Beauty and is 18″ by 24″ on canvas.

Beauty was the first thing that came to mind when I began looking for a title for this painting. It seems like a fitting representation of the old adage that we should stop and smell the roses.

As Goethe points out above, worldly cares often threaten to obliterate our sense of the beautiful. That may never be more true than it is in these days as there is so much anger, hatred, stupidity, and frustration on public display now. Many of us find ourselves focusing on all that is wrong in this world and in the process forgetting the beauty that often surrounds us.

The beauty of a blooming flower.

The romance of a beckoning horizon.

The graceful strength of a tree trunk.

The awe of a rising mountain.

The lure of a winding path.

I am looking out my studio window from my seat at the moment and a deer is looking back at me from the lawn. Beyond him I can see a couple of wild turkeys strolling up the driveway in front of one of the large rhododendrons that line it. The rhododendron is finally flowering fully, adding a gorgeous splash of color among the greens and grays that surround them. In the distance I can see the mass of yellow irises that are blooming on the edge of the pond. And while I was looking to the distance, a small buck with velvet covered antlers just beginning to develop walks across my line of sight. And above it all. I can hear the chirp of the bird nesting above my front door.

It’s a beautiful moment, one that I all too often overlook, especially when I first come into the studio. I check the news, read emails, begin figuring out what to write for this blog and what my painting agenda might be for the day. And the rush of the day sometimes blots out the beauty that surrounds me.

But this painting, especially this morning when I am in the final frantic steps of putting the work for the show together so that it can be delivered tomorrow, has reminded me to stop and consider things of beauty instead of news or emails or whatever bothersome tasks lie ahead.

And it has made a difference. Goethe was correct, there is beauty to be found in music, poetry and fine pictures as well in simply looking out at the natural world for a moment.

We can all stand in beauty if we choose to look.

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Edible Sendak

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Once a little boy sent me a charming card with a little drawing on it. I loved it. I answer all my children’s letters — sometimes very hastily — but this one I lingered over. I sent him a card and I drew a picture of a Wild Thing on it. I wrote, “Dear Jim: I loved your card.” Then I got a letter back from his mother and she said, “Jim loved your card so much he ate it.” That to me was one of the highest compliments I’ve ever received. He didn’t care that it was an original Maurice Sendak drawing or anything. He saw it, he loved it, he ate it.

–Maurice Sendak

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He saw it, he loved it, he ate it.

I love this little episode from Maurice Sendak. Reinforces my own faith in the judgement of children when it comes to art. Their reactions are pure and unadulterated– with the emphasis on the adult portion of that word. Kids look at things without pretensions and preconceived notions of what art is or is not. I am happiest when a kid reacts strongly to my work.

If only I could paint something that some kid would love enough to eat…

 

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It seems at times I should be a composer of sounds, not only of rhythms and colors. Walking under the trees, I felt as if the color made sound.

Charles E. Burchfield

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I have featured the work of one of my favorite painters, Charles Burchfield, here a number of times. He is one of those artists whose work attracts me in a very big way yet I never feel that I am able to pull anything from it that will end up in my own work. It’s that distinct in its voice.

My affinity for his work also extends to his thoughts on his work, including the words above. Like Burchfield, I often equate color and form with sound and vice versa. What I might consider my best work has, for me, the quality of music. I don’t know if it’s apparent to anyone but me but I often see some of my paintings as songs with rhythm and lines of melody. I am pretty sure Burchfield felt the same.

Much to do this morning getting work ready for my Principle Gallery show so I am cutting this short. But please take a stroll though some of Burchfield’s work. Listen well because there is music to be heard.

 

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The mantra becomes one’s staff of life, and carries one through every ordeal. It is no empty repetition. For each repetition has a new meaning, carrying you nearer and nearer to God.”

–Mahatma Gandhi

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I wanted part of my upcoming June show at the Principle Gallery to feature not only new growth, as the show’s title implies, but a few nods of acknowledgement back to my older work. The new painting above, one that I finished just yesterday and am calling Mantra, is such a nod.

I have periodically used multiple images in my work through the years. Some were quite large back in my earlier days, some having as many as 60+ images making up the piece. I am attracted by the look of these piece but also by the mindset required when painting them, one with a blank concentration, one that produces a repetition of thought and form.

This repetition of thought and form produces small incremental changes in each cell. Each is the same but slightly different.

That could be the mantra for my work.

Over the past twenty years of these shows, the work has always changed in small increments. Changes in colors and tones. Changes in strokes and textures. Additions and subtractions in elements and forms. Each is the same but slightly different.

Again, the mantra.

I guess that is why I chose that word mantra for the title. As Gandhi points out above, it is no empty repetition.

Each repetition is new and has its own meaning even though it is seemingly the same. Each is its own moment in time, its own coordinate on the grid of time and space.

Whether this repetition takes one closer to god, as Gandhi adds, I cannot say. I don’t know what that even means. But if it means that it brings one closer to understanding and a sense of unity with this world, then I agree heartily and this painting, this mantra, says everything I need to know.

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My new solo exhibit at the Principle Gallery , my 20th annual show there, is titled Red Tree: New Growth and opens June 7, 2019 at their Alexandria, VA gallery.  The painting above, Mantra, will be included in this show.

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I pursue no objectives, no systems, no tendency; I have no program, no style, no direction. I have no time for specialized concerns, working themes, or variations that lead to mastery. I steer clear of definitions. I don’t know what I want. I am inconsistent, non-committal, passive; I like the indefinite, the boundless; I like continual uncertainty.

-Gerhard Richter

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Gerhard Richter, the contemporary German artist born in 1932, is one of those artists whose thoughts about his work have made me appreciate to his work much more fully. He has a way of putting things in terms that are accessible, not just balloons filled with pompous artspeak that says very little.  More than that, much of what he says aligns with how I see art and the purpose of art, even though our work manifests itself in very different ways. I often come something he has said or written that very much echoes my own thoughts, often in a a very similar way. For example, he speaks about the rightness of art, something I to which I also often refer.

His work has moved around through the years through his iconic abstractions to photography and photorealism painting. I tend to gravitate and think of his work in terms of his abstract work, the Abstraktes Bild series from the 1980’s and the 2010’s. I thought I’d share a few of those pieces along with some his thoughts.

At the very bottom is a piece of music from guitarist Bill Frisell. It is from a project that combined Richter’s work, specifically a large book of his art, along with an album from Frisell titled Richter 858. Each track on the album correlates to a piece of Richter’s art. The piece of music below corresponds to the painting directly above it, Abstrakte Bild 858-3. Interesting concept.

 

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I believe that art has a kind of rightness, as in music, when we hear whether or not a note is false.

-Gerhard Richter

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My paintings are wiser than I am.

-Gerhard Richter

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I would like to try to understand what is. We know very little, and I am trying to do it by creating analogies. Almost every work of art is an analogy.

-Gerhard Richter

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I believe that the quintessential task of every painter in any time has been to concentrate on the essential.

-Gerhard Richter

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The desire to please is maligned, unfairly. There are many sides to it. First of all, pictures have to arouse interest before people will even look at them, and then they have to show something that holds that interest – and naturally they have to be presentable, just as a song has to be sung well, otherwise people run away. One mustn’t underrate this quality, and I have always been delighted when my pieces have also appealed to the museum guards, the laymen.

-Gerhard Richter

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Gerhard Richter- Abstraktes Bild 858-3

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Jack Shadbolt- Presence After Fire – 1950

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An artist is no bigger than the size of his mind.

–Jack Shadbolt (1909-1998)

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I have to admit that I knew little of the Canadian painter Jack Shadbolt before this morning. But I was immediately taken by his use of bold colors and forms along with an interesting use of symbolism depicted in a blend of representation and abstraction. I was also impressed with the scale of his many triptychs, their size giving the work greater weight. Just interesting work to put it simply.

There is a good short bio of Jack Shadbolt that you can read by clicking on this link. It gives you an idea of the forces, such as his World War II experiences, and people–his friendship with iconic Canadian painter Emily Carr, for example– that shaped his work. It also makes clear the influence his work has in his homeland.

One thing I discovered was that as Shadbolt was suffering at the age of 89 from congestive heart failure, his wife brought him home from the hospital. She set up a hospital bed in the center of his studio in British Columbia so that he might be surrounded by his paintings and be in that place where he had spent most of his time at his life’s work. He died there in his studio several days later.

I thought to myself that would not be a bad way to go. That is, if for some reason I decide to die someday.

But the focus today is on the short quote above, one with which I heartily agree. Whenever speaking to students I try to stress the need to grow their mind, to become an interesting person with something to say. To read more. To watch and listen more. To simply think and continue to learn.

Technique without an active mind behind it bears lifeless work.

At least, that’s my opinion. And Shadbolt said that beautifully and succinctly.

Now, take a look at some of the work of Jack Shadbolt.

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