Thursday, January 28, 2010

Look at what I can do

Snowing, snowing, snowing...

I'm not the least bit sentimental about the decline of slides as the medium for presenting images to galleries, shows, or whoever positioned themselves as "viewer". I always suspected, that if anyone ever got to open the box, they would merely raise the slide against a light background, a window at best, sigh, glaze over, leave a thumbprint, and return to the conversation in the room. They would then take steps to loose the slides for a few months, and then finally return to me some other artist's submission.

The image of a darkened room with a hushed panel of eager, focused connoisseurs, the projector humming discretely with life-sized images lingering on a screen long enough to reveal the amazing depth of the work, is a false image, I'm sure. On the plus side: I would always know how they looked and not be subject to someones weird monitor or computer settings. I have seen my work look very, very different on other peoples screens, almost unrecognizable.

Nothing will ever look the way it looks in my studio, or on the wall at home. Scale, of course is a biggie. Colors, textures, changing reflectivity in different angles of viewing, or just the all-important impact of stepping closer, and stepping away. With all these raging vagaries running loose I feel free to doodle around in Photoshop and mess with images of pieces until I feel they represent what I would ideally like them to be.

Is that really bad? I mean,I never really succeed -- they look like I messed with them in Photoshop.

The next step is to present pieces which don't really exist.

Meanwhile, there is an acceptable and commonplace alternative (hold your breath): the computer-generated image:





My digitized flesh, and my delicately hatched lines done with trembling digits of same flesh.Feel free to click to get the full horror.

Monday, January 25, 2010

Self portrait

I was seriously considering changing my official online portrait to this:but since I have been complimented on my current image, I will stick with that.

Wednesday, January 20, 2010

Snow Day



My original intent was to write a varied blog about the issues confronting me as I wrestled with the demons which enabled or prevented me from working on art. So far, I have dealt obsessively with my Hacz, and other series of work, as if the process of making art existed in a vacuum without external factors intruding. Today I have softly shuttered that turmoil in a dark nook of my semi-awareness to be resuscitated (perhaps) tomorrow.

I'm in Los Alamos, New Mexico , home of the bomb, in a quiet corner of the library, laptop plugged in to the county's electrical supply so as not to run down my battery. The sky is churning with snow-bearing menace. I drove my daughter, Lizzie, to school here today; normally my wife, Carol, brings her here, she works in this very library, but today she is off, and the duty befell me.

It was a mistake coming here. The winter storm which hit in the darkness of this morning is a mean and dangerous one. We drove most of the 50 or so miles without mishap. Ascending to the 8,000+ feet of the Valle Caldera we carefully nudged our way through about 12 inches of unploughed snow on New Mexico State Route 4. We stopped a couple of times to clean of the wipers which were streaking-up the windshield ; each time we cleared obstructing peaks or ranges, which allowed for a cell phone signal, Lizzie would anxiously call the school snow-days hot-line to see if this gut-wrenching expedition was at all necessary. No, no snow-day. Normal schedule. The happy burghers of Atomic City were going about their usual business, pumping out weapons of mass destruction, no mere blizzard enough to distract them from their noble task.

The true and total wrenching of the guts saved itself until the final moments of our descent down the tight and steep hair-pin bends on the East side of the Jemez Mountains. Here the bends and gradients are such that in fine weather it is wise to travel at somewhere between 5 and 10 miles per hour. Today, we cleared one corner and before us, at the end of a steep decline, stood a line of cars at odd and unnatural angles, quite still, or perhaps drifting, just ever so slightly. On a clear day this location provides enchanting views of thousand foot drops with distant cities and never visited mountain ranges in far away counties. Today, all was whited-out, which provided much comfort. Yes, we did finally come to a complete halt without nudging the last stopped car over the precipice, all the time glancing anxiously in the rear-view mirror to see if Dr.Strangelove, who had been tailgating us up till now, was going to be able to do the same.

The rest of this part of the story goes like this: every now and then one of the vehicles in front of us would make a tentative move, release breaks, apply them at once again, and go into a graceful spin, delicately bouncing of the barrier, and each time miraculously not dropping into the yawning chasm, or at best, embedding itself in the drifting snow on the safe side of the road. Some of us proceeded with great dignity, in tiny, tiny little starts, mini, mini skids, and real, total stops. Others resigned themselves to stupid looking going sideways stunts (don't quite know how that works), one elected to travel backwards, some, embedded themselves in the safe-side snow drifts, got out, and fumbled with their cell phones for comfort.

Well (the good news), here I am. Lizzie is entombing knowledge at her school, I'm free of Hacz, Sd, Bs, or whatever else I considered so important yesterday. Now (the bad news), in a couple of hours we have to hit the road again...perhaps tomorrow will be a snow-day. If you ever see another entry in this blog, it means we made it.

Tuesday, January 19, 2010

Still stumbling, after all these years

Now I am treading more cautiously. The process has become increasingly mechanical; I'm no longer making wild decisions as I work. I have resolved to make a few big changes in the initial stages as I start each piece, and then proceed with the now established mechanical spells. The areas of white which occur in each piece are not quite right. I need to begin on a not-white surface, then put down the the area on which the hatched rectangle sits, then lay down the hatched rectangle.

These last two are still putting-up with the white blazing away. Actually, this might happen again in some more pieces, which are still at various stages of production.



It's turned out to be a long trek, this, but I feel that I'm stumbling in the right direction.


Tuesday, January 12, 2010

Strictly speaking...

...it now looks that what I am posting is no longer all that minimal and can hardly claim to be monochromatic. These last two images from last night are complex little dramas that I am not quite used to seeing myself produce -- not for some time anyway. So far I am strangely fond of them and look forward to seeing them in the wider context of what has been and what will be.


This process that has developed over the last few days is more flexible than what I usually allow myself. It does allow me the possibility to spread the "brackets" wider. I'll travel up and down a bit within what this space allows, to see which ends are dead and which areas allow these pieces a more realized condition.








Friday, January 8, 2010

Paperwork

Working on paper: a mixed bag for me. It is so accessible, compared to the elaborate preparations that need to made for so many other mediums, but I never trust myself to look after the pieces afterward, so I take a brutal, careless attitude towards them while I work -- crumpling, creasing, ripping...Then, there's the tricky question of acidity and all that; when will the piece eat itself from within? Acid free? I've taken to drinking acid-free orange juice; perhaps I will last a bit longer: become archival.

The other hang-up is: I think of them as preparatory work for other mediums. This works to some extent, though at the back of my mind I am always strongly aware that when I transfer to another medium, the process will change...of course. I have very rarely shown work on paper; and I do have big problems presenting them: matted? framed? (glass!!??)? dangling? Now it occurs to me that I have to get rid of these cute little black line frames that appear around the images on these pages.

Small piece, first in this series. Whatever you do, try not to click on it -- very blurry photograph:



These little sketches I made yesterday. I don't see myself using any of these exact arrangements, but they kind of sit nicely on this scale.
This first piece is small, on paper, whatever can be repeated of the process I'll repeat on a smooth board-like surface -- acrylics, I guess...



First attempt at "piece on paper" in this series. I'm happy with it so far -- will need to work out the early part of the process with a little more cold-blooded premeditation. Now, this image works better clicked-on.

Thursday, December 31, 2009

Comfort food for thought

I was right about something yesterday: the looming threat came true. I went through all the stages I promised myself, then I got all painterly and compositional and lost track. Now I have three dead-end little pieces, I went to some trouble photographing them at all their stages, but now I'll just dump them.

Not all is lost though. Through working all day I noticed something which was happening during a stage of the previous process, which I decided to take advantage of. These work better; I will take them to wherever they might go. Next, I'll work again on paper, but on a more comfortable, larger size. After that, acrylic on smooth shiny board. Some hastily taken photos. The pieces are much blacker; red and blue are fluorescent, acrylic on paper:





Wednesday, December 30, 2009

A hard, thick piece of board

Made a trip to Home Depot for a nice, prefabricated 4’x2’ board. It would be interesting to stop painting on canvas for a while. The movement of wet paint on a hard, smooth surface, like on this board, should be quite different than on canvas. I’ll make two pieces out of this -- if what develops looks interesting, I will adjust the scale.
I would like to see the sequence of paint layers be more obvious, and this surface will help. The bottom layer of paint will be a warmish, coming-forward (but not too much) kind of color, perhaps near-red, and show only in very small areas. The colors cutting in around it will vary, in a transition from the edges toward the center. They will range from warm to cool, allowing the cut-in red to appear to come forward or to recede, depending on its location.
These moves will, I hope, produce more clarity and emphasize the ambiguities. I think that I might loose some of the field-of-color “thing” of my previous pieces, but hey, its just all black anyway.
I feel a bit tense about the process. This is probably not too good, so I will have to work on (shiny) paper a few times to fall in to it. The biggest looming, scary threat: I will get all emotional and compositional if I'm handling and dipping in to the world of painterly transitions.
Yes, that's the answer; make good preparations for my preparations. Need to arrive at a point where I can establish a process, which I can then follow mechanically.

Friday, December 25, 2009

Aftermath

That evening, last feed before the winter storm:



Then yesterday morning, in the aftermath of an all night snow:



A gutter would be good here:


And now, today...





Not a bad set-up for Christmas Day. Some of the coldest weather of the year, so far.
I will soon tire of taking photos of the snow.
Events from today; some snow calling for a vertical composition:




A very bright Christmas Day. Cold, strong, sharp wind, but bright...
Shadows from a batch of bamboos on snow:

Tuesday, December 22, 2009

A cold December day...

...the little convection heater is whirling in the studio while I fumble around the house waiting patiently for it to become habitable over there.

I find it uncomfortable hovering in that time and space between being clear in my mind about what I need to do, and having access to doing it. My father learned from experience to be equipped with a pen and notebook at all times, and never face the horror of missing the essence of some inspired idea. He constructed special little holders inside his jackets, which contained a notebook and a collection of multicolored pens (for color-coding his ideas), so avoiding these all-important items from getting tangled with the mundane objects which inhabited his pockets -- always ready for the quick draw.

I, meanwhile, am working with large objects, canvasses and their like. The notion of the process is glowing within me, but will it remain uncorrupted over time? It feels familiar, like trying to hang on to the recollection of a dream. The recollection is so different at first awakening, then altered later in the morning, then again later in the day.




Red2
I completed this piece a year or so ago, but never felt that it realized its full potential. Big monster, hard to move around the studio, but it sure is dry now, and ready to continue its journey.

Saturday, December 19, 2009

Deep breath

A gasp from all those waiting for a new blog about abstract, minimalist, and (almost, but nowhere near) monochromatic painting. And to be even more pompous, I must add that I will dwell about the act of doing art. I will also write about the attendant events which feed and distract from the main event.

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