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Archive for the ‘Painting’ Category

“As I Wander”- 12″ x 6″ on canvas

Getting ready for Friday’s opening of “Truth and Belief,” my solo show at the Principle Gallery. As I wrote the other day, I was a little anxious in the first day or so after delivering the show. My confidence lagged a bit.

Thankfully, that has passed and I am actually feeling very good about this show.  From a superstitious standpoint, I don’t know if that’s a good or bad thing but I am truly convinced that this is a good and strong body of work. And from a few images the gallery shared with me yesterday as they were hanging the show that feeling is reinforced.

It has that feeling of rightness that I try to describe so often. And that’s a good thing.

Truth and Belief opens Friday, June 2, at the Principle Gallery in Old Town Alexandria, VA. The opening reception begins at 6:30 and runs until 9 PM. I hope you can make it. If you do, please feel free to introduce yourself or ask questions. It’s my pleasure to be there at your service.

I put together a short video/slideshow of the paintings in the show. It’s a simple and short glimpse of each piece that I hope gives an idea of how the show fits together. Take a look…

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This is a painting that is part of my Truth and Belief show that begins this Friday, June 2 at the Principle Gallery in Alexandria. It is 16″ by 20″ on panel and is titled Called Home.

This was one of the first paintings started for this show many months ago, actually back into 2016. It was also one of the last pieces finished in just the last couple of weeks. The two blocks of color, the graded blue-green of the sky and the dark red of the foreground, that make up the bulk of the picture were in place and in my mind the piece felt complete, already communicating emotion.

The interaction between the two large elements and their textures and colors already satisfied me. It was very much like a lot of my earlier work that solely relied on these factors.

I set it aside many months ago and would look at it day after day. I was hesitant to move beyond where it was by adding anything, fearing that it would alter the strong feeling it already emitted for me. I wanted to add elements that would complement that feeling and make it more apparent and accessible for the casual viewer.

I thought about going to my default icon, the Red Tree, that has a variety of meanings in itself.  But it just didn’t seem right for this piece. I settled on one of the Red Roof structures but a taller and more angular version, one that would seem to be trying to break the grip of gravity and reach upward toward infinity. The Red Chair and the path pulled a narrative together for me, one that very much falls in line with how I was seeing the painting in its early stages.

The new elements actually seem to fortify that feeling for me and now when I look at this painting, where I once only fixated on the sky and the foreground, I now see the unity of all the elements in pushing forward an emotional feeling that resonates for me.

It’s all I can hope for in my work…

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I thought for this Memorial Day a replay of the post from this day last year was appropriate and says exactly what I wanted to express this morning. We are living in strange times with a leader with little if any impulse control and a need to achieve his desired outcome regardless of the means needed to do so. I am of the opinion that if push comes to shove ( and with his knack for alienating and shoving, it’s a real possibility) he would not hesitate to spend the lives of  many of our soldiers to protect his interests. And there is a building doubt as to whether his interests are our interests.

I think that is why this Memorial Day takes on special significance. We must remember the horror of war that brought about this holiday and not gloss it over. It was not meant for glorification of war. It was a day of grieving and remembrance of souls taken much too early. Give it a thought today.

Memorial Day weekend.  It’s become the symbolic starting point for summer, a time of barbecues and partying.  Fireworks. In those rare instances when we do take the time to consider the day, many of us tend to think of it in terms of patriotism and nationalism.

But it was created from the loss and sorrow of a civil war that ripped this country and many families apart.  It was meant to alleviate the grief of the many families who suffered the ultimate loss, to let them know that the nation shared their sorrow in the memory of fallen family members.

In the nearby Woodlawn National Cemetery, where my mother, along with both my grandfathers and several uncles, is buried, there is a section that contains the nearly 3000 graves of Confederate soldiers who died in the Civil War in the Elmira, NY prison camp.  Whenever I look at those stones and think of those men of the south, I always think about their families who may not have even known that their sons were suffering in a cold Northern prison.  They were mothers, wives or children who would never see or hug their sons and husbands and fathers again. People whose loss forever left a hole in their lives.

And this sacrifice was for what?  An idea, the preservation of an ideology that probably didn’t affect their day to day lives in the first place? The financial interests of the planters and plantation owners, the wealthy ruling class?

Why are we so easily stirred to war, so willing to sacrifice our own kin and their futures?

There are no easy answers.  Maybe that’s why the holiday has transformed into what it is today– it’s too terrible an image to bear when we look in that mirror and ask those questions.

So for this Sunday’s music on a Memorial Day weekend, I thought I’d play a song that asks for peace on earth with the hope that fewer families in the future will have to see this earth absorb the blood of their sons and daughters.  I know that sounds like a pipedream, a world without war.  But I have to ask  myself: Why not peace?

Here’s U2 and Peace on Earth.  Have a great Sunday and a great holiday.

NOTE: The image here on the left is a new painting, The Kinship, that is part of my show that opens this coming Friday, June 2, at the Principle Gallery.  There is a sense of remembrance in this piece for me that jibes with the real spirit of this day.

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There are colors that really trigger reactions within me. Most people would no doubt think that the color red would be the main one and perhaps they are right. The Red Tree is certainly the thing that would come to mind for those who know my work. And Red Roofs and Red Chairs.

Or maybe one might think that it’s the Indian yellow, a warm color that was the basis for much of my early work. It creates a most satisfying peaceful feeling in me still, after all these years. It would n’t be a bad guess.

But for me, I always come back to the blues along with the purples that spin off of them. They excite, mesmerize, tranquilize, intoxicate and pacify me. They take the melancholy and anxiety of existence and mix it with the sheer joy of living and feeling to create an aura that surrounds our life. I don’t even know if that sentence makes any sense but it sure feels like the color blue to me.

An example of this might be found in this new painting that is part of my show at the Principle Gallery that opens a week from today, June 2. This 12″ by 12″ painting on canvas is titled Passing the Blues.

It’s a piece that I have been coming back to in the past few weeks, just hovering over it as I take it in.  There’s a feeling in it for me that I would describe as sweet sorrow. Kind of like the appreciation you might have for the melancholy that sometimes comes with this life. It’s not joy but it lets you know that you are are a living and feeling person.

And that, in itself, is a wonderful thing.

And that is how I see the blue colors.

Here’s a song that has that same feeling of sweet sorrow for me.  It’s a great song originally written and performed by Dolly Parton. It’s Don’t Let It Trouble Your Mind and is performed here by a favorite of mine, Rhiannon Giddens.

 

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The other day I received the new Summer issue of Acrylic Artist magazine that hits the newsstands and bookstores on June 6.  It contains an article featuring my work and how I arrived at my “signature style.”

I have to say that I am pleased at the way it came out. Writer Zack Hatfield did a great job transforming our interview into a well written article covering ten pages along with numerous images. Many thanks to Zack and the editors at Acrylic Artist for being such pros and for a job well done.

The magazine is available at newsstands on June 6 but if you would like a copy you can order a print or downloaded copy by clicking on the magazine cover shown here on the right.

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Truth and Belief, opening June 2 at the Principle Gallery, will be my 18th solo exhibit at the gallery. That’s a long enough time span to see the differences and changes in the work. Some of these come about because of technical changes and some come from conscious decisions. Some are evolutionary and I can see how a concept grows when I compare the shows from the different years.

But throughout the entire time I can honestly say that the work always reflects my emotional state at the time. I definitely believe that is the case for group of work in this show.

The changes of the past nine months or so, personally and in our political scene, have had an effect. I find myself needing to withdraw into the work, need the colors and shapes that I find in them.  Need to find a source of light that I can head toward.

Need to have something to believe in that I know is true.

If nothing else, my work represents that sense of truth for me. And that is how I am viewing the work in this show. It feels earnest, real and true.

Now, I remind you, that this is my opinion, my view of what I am seeing. You may not see those things at all and that’s fine and good. To tell the truth, I don’t care. I think that’s why I like this group of work–it was done specifically for me, to comfort me, to ease my anxieties.

It satisfies my very real needs.

If someone else sees something of value in it, great. If not, at least I have been true to myself. And that, at this point in time, is most important to me.

I call the painting above, a 12″ by 6″ canvas, Reboot. For me, it represents the upheavals that take place in our world and in our lives and how we ultimately deal with them, how we reset our course.

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Race the LightSunday morning. It’s quiet which I like immensely. Early mornings are my favorite time, when there are fewer people stirring, fewer yahoos who feel it is their right and profound duty to create as much sound as they can in order that the universe might know they are alive. Those rare times when traveling, I like to get up early and prowl the streets of wherever we might be, taking in the landscape and buildings in a much quieter setting. The few people who are there are either early morning folks like myself who gladly soak in the quiet or they have somewhere to go and are still quietly dazed from being dragged from their bed.

Either way, they don’t make much noise.

I wish I had more time to prattle on endlessly but even though it’s Sunday, it’s still a work day for me.  And a very busy one at that as I continue my prep work for my show that opens in less than two weeks. Still so much to do but I am enjoying seeing it come together. I find it exciting to revisit each piece as I frame them, seeing things that may have slipped my mind since I put the touch of paint to them and set them aside.

Take the painting above, a simple 6″ by 12″ piece that employs a boat motif I have revisited a number of times over the years. My challenge when doing that is to find something new within a narrow compositional parameter with but a couple of elements and little space to add more. The new has to come in the form of color and strokes and texture. And I think this piece, Race the Light, feels new and different than its predecessors. It has its own oomph, its own life and it draws me in anew.

So, in keeping with the boat theme for this week’s Sunday morning music I am going back to some 1980’s music and a song from World Party called Ship of Fools. The song was used in a much different form, much darker and menacing, near the end of the most recent episode of the great TV series Fargo. But the original is a good tune, a great bit of 80’s music. Plus the video is really of the time which sometimes might inspire a chuckle.  The lyrics may pertain to today and tomorrow as much as they did 30 years ago.

You be the judge. Enjoy and have a good day.

 

 

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This new painting is titled With Sanction of the Moon. It’s a 10″ by 20″ canvas that is part of my solo show, Truth and Belief, that opens in a little over two weeks on June 2 at the Principle Gallery.  The show seems to be coming together really well with so many of the paintings pleasing me in surprising ways. This piece kind of symbolizes that aspect of the show.

It’s a painting that has been in process for a long time.  I think I started it in the autumn of last year but set it aside soon after so that it was one of those pieces that are propped against a studio wall where I glimpse at them a number of times on a daily basis, trying to ascertain where they might head later in the process.  Its early stages had given it some potential that I thought would emerge eventually but it just wasn’t talking to me.

There is a certain point in my process where the painting has what I would call a dull phase.  When it first goes down on the canvas it rides the initial energy that comes from the composition and the thought process behind that. But in the subsequent steps that energy lags a bit and there is a point where the paint seems to go dull and flat. I have at that point lost the vigor of the initial composition and am fixated on the surface so that when the paint goes flat I lose a lot of my inspiration.

Now, having done this for many years now, I anticipate this stage in the progress of many of my paintings.  It doesn’t worry me when the paint looks listless at that point because I know that each subsequent layer will bring back the life that seems lacking and will reawaken my energy source if it goes as I hope. That’s always a thrilling moment for me, when a piece is reinvigorated in this manner. The initial excitement that comes with the composition comes back in a big way and the painting feels new again.  That flatness is instantly forgotten, as though it never took place.

This piece seemed trapped in that flat stage for a long time for me and I began to wonder if it might make more sense to paint it over and restart on something new. But I could never do that to this piece. I was convinced that there was something there worth preserving, something that would emerge that would be far beyond what I was seeing in the moment.

So I bided my time until a week or so ago. I was in a nice groove with my painting which gave me confidence to dive into this piece with the hopes that I could find its hidden potential. The flatness faded quickly and it was soon in a state that pleased me greatly. It had a voice and life of its own. I had to shake my head that I had doubted it in the first place.

Paintings like this, where I lose then rediscover them much later, are often my favorites.  I’m not saying that they are better paintings. Maybe because they require more conscious thought and effort, unlike those pieces that sometimes just fall out almost on their own, paintings like this remain deeply etched in my memory.

I think I will take another look.

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Every now and then a man’s mind is stretched by a new idea or sensation, and never shrinks back to its former dimensions.

Oliver Wendell Holmes Sr., Autocrat of the Breakfast Table

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This new painting has been capturing my eye in the studio every time I mindlessly glimpse in its direction.  It instantly wakens my mind and sets it into a deeper focus, making me look deeper into the painting as I try to ascertain what is there that has convinced me that there is something more beyond the deepest point in the painting, something that triggers thought and emotion.

It pulls me in and swallows me up.

I don’t know why that is, exactly.  It could be the deep colors or the contrast of the light around the sun/moon/whatever. The simple forms and the depth into the picture plane?

I just don’t know.

But as the quote above from the elder Oliver Wendell Holmes ( the father of the famous jurist who was great man of letters in the 19th century) claims, it creates a sensation in me that stretches me, makes me want to experience it again, makes me want to know more. To feel more. To expand beyond the smallness of who I am now as a human, shedding the baser qualities that have marked me up to now.

And to stay in that expansive state, to not shrink back into that lesser self.

In short, I like this piece. As always, you might not see it this way or see in it anything that stirs you at all. And that is as it should be because I primarily paint for myself, paint to satisfy my own needs and desires. The fact that anyone sees something in them is a gift and a surprise to me.

A small miracle, in fact.

So, if you find something in this piece that stirs you, I thank you for creating that miracle so that I might experience it.

This painting, Looking Beyond, is 12″ by 16″ on canvas. It is included in my solo show, Truth and Belief, which opens June 2 at the Principle Gallery in Alexandria, VA.

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Conquer the angry one by not getting angry; conquer the wicked by goodness; conquer the stingy by generosity, and the liar by speaking the truth.

Gautama Buddha, The Dhammapada

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Looking at this new painting, a 12″ by 12″ canvas, I didn’t have to spend a lot of time trying to interpret it as its message comes through clearly for me.

The title, The Radiant Heart, had come pretty quickly from the radiating fields and the sunlight along with the deep red of the heart-like mound on which the house is located. In my mind, these things symbolized a generosity of spirit and a willingness to reach out to others with honesty and goodwill. Much like the qualities in the words of the Buddha shown above.

They are seemingly simple qualities that most people would no doubt assume apply to themselves.

But in the bright light of reality how many of us can say we truly live up to those qualities– goodness, generosity, truthfulness, and placidity?

I can say that I aspire to them and  hope to arrive at a time when I can claim all four as being truly part of who I am.  But I have often come up well short on all four accounts.  I have been less than good with my behavior and my intentions. I have been stingy and greedy.  I have lied and deceived. I have been angry and vengeful.

And that was just yesterday. God only knows what today will bring.

But, seriously, the only transcendent moments in my life have come when  I have been freed from those negatives, cut loose from greed, anger, and dishonesty. So, I must try to keep reaching that point where those better aspects are normal and always at hand.  It’s hard, especially in these times when we witness so much anger, so much avarice, so much outright dishonesty and lying, and so little compassion or empathy. It’s hardest to maintain composure and not explode in anger in reaction to these horrible, shameful actions you see taking place on a daily basis.

But perhaps the sheer difficulty of maintaining high aspirations in these days make it even more important that it be done. Because if we don’t get closer to a point where those better qualities guide us, then we will be living in a world unfit for and hostile to most of us.

And that’s not a world I can tolerate.

A lot of words for a small painting, huh?

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This painting is part of my upcoming solo exhibit at the Principle Gallery, “Truth and Belief,” which opens June 2 at the Alexandria gallery.

 

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