In the Sketch

Size the paper. Dust the pastels. Cut the friskets. Render the surface. Digitize the image. Adjust for contrast.

What is it? It is like a poem that means nothing, and, everything, all at the same time. It is the sketch.

Office Phantasm Realized

The latest work, “Office Phantasm” is signed and completed, and yes, it is a good feeling!

Picasso said something to the effect that as you begin a piece, you must be on your guard against early infatuations, that is, with images that emerge in the creative process. He counsels against saving and honoring these images, and advises that they be “destroyed”, buried deep, yielding ever richer, stronger results in the process. The work above is a case in point.

I started this work quite a while ago, perhaps going on nearly a year. As the work progressed, I hoped to keep portions of it, here and there, which I found most pleasing. However, I could not seem to flesh out the entire piece based around saving these incongruent parts, and truly, in retrospect, they seemed somewhat anemic. The frustration gave way to boldness with some ninety per cent of the painting covered over with layers of gesso, paint and collage. In the end, all that I initially sought to save and maintain was layered under, with newer, bolder and more cohesive images emerging. The work became fully realized; images, themes and all.

The creative process here was a very satisfying and rewarding adventure, with much to ponder and learn, about myself, in the completed work.

Office Phantasm

I am closing in on finishing another work, shown above. When it is dry enough to hang it on the wall, I will decide if it is in fact completed. There may be yet a few finishing touches to do, I am not quite sure. At the very least, I will probably touch up the edges with color, or a fresh coat of gesso.

The canvas frame is home made, and quite deep at 1.5”. I don’t think this painting will ever have a frame on it. With such a deep edge, I was able to move the two rear frame supports well back of the canvas surface, which is a big plus for me. I am not exactly a delicate painter. I am, in fact, a bit physical with the canvasses at times. Sometimes as I work, I tend to press through to the support bars in the rear, leaving paint impressions on the front of the canvas which I loathe. At those times I have to reach around to the rear and press the canvas forward, aggressively working the front with brushes or rags to remove any unwelcome traces of those impressions left by the wood. I am tempted to make more of my own canvas frames, because this one turned out solid as a brick, not to mention, that I can have total control of the size of the finished work.

As for the content of the painting, I think I may be working out some unresolved feelings with respect to my work-life. I may have some feelings that I don’t know where to put, but, at least I can put them on a canvas. For me, there is something reminiscent of Goya here, and that has to be a good thing.

I think it was Isadora Duncan who said that, under no circumstances is it for an artist to judge their own work. That is for others to do. What a relief! The only judgment that I need to make is whether or not to hang the work on my wall. If I want to see the painting every day, well, that says something.

Architectural Refresh, Part 3

Architectural refresh, with a touch of color, and, fun.

To Behold

Something tells me that even Van Gogh would have appreciated this image. Is it the composition, the textures, the colors, the mood, that is, for me, one of alone-ness? Is it the time of day, morning or evening?

Whatever it is, it is the footprint that man has left on the earth. The way to get from one place to another, within or without.

F8

A true friend, hard at work in mid-autumn. A few yards away, the Atlantic has power in reserve. Yet this little worker is full of focus and resolve. All life is in its debt.

Generations

Shown above is the latest oil painting, at 36" square. It felt great to add the finishing brush strokes.

The working title? "Client Biographic."

Play in Five Acts

Five or so rounds in the studio yields another work. I went for the fun, always a good move. I haven’t yet named this piece. Why rush it? It is just dry enough to hang it on the wall. Let’s see what it speaks to me in the days ahead.

The Underside of Beauty

Sometimes it is good to change your point of view. Bend your knees and search for the less obvious. The result may surprise you.

I love the image on the underside of this flower. The unique qualities of the colors and textures. The fractal-like composition. The suggestive details. The energy is bursting out in all directions.

It really is a wonderful world.

Wisp

It is time for an image refresh. It is time for something from the past, something hanging on someone's wall. It is time for something a bit surreal. Time for an image with the colors of autumn that I love so much.

It is time for "Wisp."

Create Destroy Create

For a variety of reasons, the luxury of having time in the studio has been a bit sparse lately. At times, I have to fight the urge to force results to make up for lost time, a futile and counterproductive enterprise. I need to remind myself to allow the evolution of a work, as it has a life of its own, a time to be born, that is, if I am fortunate enough.

More often than not, the creative process also entails a good deal of destruction, with the careful laying of paint followed by an equally careful process of removal, followed by reassessment.

Sometimes I wonder if I will ever be able to complete another work. Who is to say?

Late Summer Wonder

A little late summer wonder, and, a little digital fun.

A Jag on the Brain

My dad, who alternately brought home some of the coolest designed cars on the planet, along with some of worst aesthetic offenders known to man, showed up one day in the early 1960's with this hot, hot example, a 1958 Jaguar Mark 1, with the 3.4 liter engine. I had never seen him so excited. Well, the whole family was excited. I think even the dog liked the car.

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The Mark 1 series ran from 1955 through 1959. I saw one in mint condition on the road last month and could hardly believe my eyes, to behold such automotive splendor. Few cars show such class, such exquisite and original styling. The lines are unmistakable.

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Our other car was a 1954 Buick, a total brick, a solid performer. In fact, I think it could drive through a brick wall, and keep on going, unscathed. Previous to the Jaguar we had a couple of ancient Pontiacs, circa late 1940's vintage. These cars were affectionately called "The Bumba." The original Bumba looked like an insect gone radioactive in a Japanese horror movie. That car could take a bullet. After the floor fell out, it sadly needed to be replaced.

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Another automotive glory from my childhood? A 1965 Ford Mustang, greenish gold color with a dimpled black vinyl top. A true classic.

Summer's Almost Gone

While looking out my kitchen window, I noticed this little bumblebee struggling upside down in a puddle of water. I turned it over with a leaf and then watched as it walked a little ways to face the sun and dry out.

It must be near the end of its life cycle as I think they only live some two to three months. This one seemed a bit battle worn, as it posed patiently for its portrait. The macro mode really allows us to see what would never be seen normally. These insects display a complex level of detail.

This little worker has done an amazing job on behalf of its young, its community and the environment. It is a little sad to watch it all come to a close.

Its work, however, will ensure the future. Can we say that about ourselves?

Repose at Will

Shown above, the painting of the day, "Couch Repose." For me, a welcome change of pace from the previous entry, however interesting. I am just in the mood to look at one plus nudes, relaxing in the living room.

Overnight Lodger

I arrived home the other day and found this little visitor camped out by the door. I hadn't seen a praying mantis in some time, and perhaps had only seen a few in my lifetime. My understanding is that they are fairly common, but do an amazing job of blending in with their surroundings, staying quite still with a sculptural pose resembling a clump of sticks or leaves, and then striking their prey with lightning speed.

It was late afternoon when I saw him, or her, a time when activity winds down for the night. I grabbed my camera, that is, the Nikon P5100, and was allowed increasingly intimate opportunity to document the visit, under constant scrutiny by these highly visual creatures. At some point I must have been judged to not be a serious threat, because in the end, I had the camera quite close to its face. Only at times were the front pincers separated, a sign of some alarm. At no time did the wings spread, a red alert.

I wished that I had the Nikon D80, a single lens reflex camera I use at work. This would have allowed precision in the macro shots. It is quite hard to auto focus on a wispy creature, some two inches in length. It was necessary to auto focus on an object and then continually hold the focus and estimate the distance to the mantis, a hit or miss strategy for crisp focus on the subject. Another issue to be faced was the fact that the closer you are to the object you wish to focus on, the smaller the depth of field becomes, yielding an increasingly narrower focal range.

Through macro photography, I gained respect and admiration for this little predator of calm repose. That is one aggressive little grip at it's command.

It was time for the closeup. Okay, we got it!

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The mantis roamed a bit through the night, first to one side of the door, and then the other. I saw it nearby in the morning, but the photo opportunity was over. It was in no mood to cooperate as before, and I left it alone. Check out time was 11:00 AM, and it was gone. I only figured that it camouflaged itself in the bushes, laying low for the next meal.

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I felt fortunate to have been granted a view into this small world, steeped in some myth and mystery.

Tools and the Trade

I have been fortunate enough to use a great series of cameras over the years. To follow is as comprehensive a list as I can put together, and, in fairly accurate chronological order. Of course, I have on occasion worked with other cameras, such as Polaroids, however, I consider this list to consist of the highlights of cameras that I have worked with.

Kodak Brownie Hawkeye
Start date, circa 1959
Fantastic little box camera. Bakelite at it’s best. Hold it like a Hasselblad (great feeling even for a four year old) and stare down into the view finder. My first taste of art direction! I can still hear the tinny little sound of the shutter release and spring. Then, the sound as you wound to the next frame. That was great fun. Need I say it? This and all to follow until I mention otherwise were all film cameras!

Kodak Instamatic 100
Start date, circa 1965
Felt like I was in heaven. Was picture taking ever this much fun, or cool?! I don’t know how I got my hands on this baby, but I still have it. I loved the horizontal format and the look of the prints. They scream, mid 1960’s. This was the camera to bring to the World’s Fair (yes, they had those things where you could roam around in freedom and safety, learning about other cultures and enjoying life.)

Unknown Minolta SLR
Start date, circa 1968
Brief, but wonderful stint using my sister’s old SLR from art school. Magnificent camera, but, unfortunately, malfunctioned and was never repaired. This middle-schooler lacked the wherewithal to bring the camera back to life.

Nikon F2
Start date, circa 1971
This is where we drop all the booster rockets and enter the heavens. Magnificent camera, an aristocrat. Professional level, fully manual. This was a loaner from my then brother-in-law on his return from duty in Vietnam as a photographer of the aftermath of battle (I hear you). I was brought up to speed. I learned to load the film, take light readings, and set the aperture and shutter speed. I gained experience in proper exposure and image composition. I began to develop and mount all my own color slide film and create slide shows. After shooting countless rolls of film I learned to cull down and tell stories with only the strongest images, preempting the yawning and “look at the time” syndrome. The Nikon F2 brought fulfillment.

Unknown Canon
Start date, circa 1973
Not an SLR, but a little workhorse that I used for quite a few years. Lost track of it. Would love to find it in my attic some day.

Nikon FE2
Start date, circa 1983
Beautiful semi professional SLR. Just getting to know it when it was sadly stolen out of my house one dark December. May have ended up under a tree somewhere on Christmas morn, or, helped satisfied a drug habit.

Unknown Ricoh point and shoot
Start date, circa 1984
Not much to tell here other than that this camera filled the gap between the previous glories, and those to come. As a point and shoot, I have no complaints. Worked well and was easy on batteries.

Nikon FM2

Start date, circa 1987

A return to form and greatness. Fully manual at the dawn of the automatic age. Felt good in my hands and produced professional results. A wonder in its simplicity.

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Sony Mavica

Start date, circa 1991

Marks the dawn of the digital age for this designer. All Sony, all the time. All proprietary technology. No film. All images recorded on mini disks, and suitable for transmission over analog telephone lines. Ahead of its time, and very expensive. I shudder to think what it would cost in today’s dollars. Used in service of a client.

Nikon F3
Start date, circa 1994
For me, the best of the film cameras. Pure joy. When this camera was stolen, it shook my ability to trust (long story that I won’t elaborate on.) Used exclusively for product photography. A fantastic camera.

Leica Reprovit
Start date, circa 1994
Copy stand marvel in black (film only.) Also a joy. The Leica body and lens were a jewel in my eyes. Everything worked flawlessly. Every tolerance was right on the money. I hope to work with Leicas again some day.

Unknown rented digital SLR monster-cam.
Start date, circa 1995
Rented for test purposes, this camera produced stunning results. Price tag? Around 28K. That’s why we rented it.

Kodak DC-40
Start date, circa 1995
A new era of fun begins. Feels like a toy, but, if you are not terribly concerned with image quality, gets the job done. Best at quick record shots.

Fujifilm DS-300
Start date, circa 1997
After the Kodak DC-40, this feels like a real camera in your hands again. Cleanly designed hardware. The image quality is improving. This camera is probably around 2 mega pixels, impressive for that time. If you purchased a separate mountable screen, you could actually view the image that you were about to capture, a first. Still, this camera was somewhat temperamental. At times,there were hours and days of downtime while we did trouble shooting to get it back in service.

Nikon Coolpix 3100
Start date, circa 2004
At 3.2 mega pixels, closer yet to capturing a good image for web or print. The digital fun has now kicked in. Still works great. I wish that the battery door had not fallen off. Black photo tape holds it all together. At a passing glance, can’t tell there is a problem. Looks cooler than ever.

Nikon D80
Start date, circa 2007
We have arrived. All the fun and possibilities are at our command. The depth of the image is fabulous. Only drawback? Need to use the camera almost daily to stay familiar with it. But, it is worth it.

Nikon P5100
Start date, circa 2008
I keep this one close to me because for image capture it is the best thing going. It used to be “F 8 and be there.” Now, it is, “just be there.” Not an SLR, but, you can’t put an SLR in your pocket, or hang it lightly around your neck. Oh, the wonder!

Do I miss film and slides as media? I sure do, but that will have to wait for a later post!

L'heure Bleue

The Blue Hour, reflections (yes, they are everywhere), and the consequent bliss.

Analog Man, Digital Woman

What an age we live in.

I love the way I can digitally capture an image, say, of an oil painting as shown above, entitled "Closeup 02, Porcelain Redhead", which, point of information, measures 12" x 48", and then quite easily manipulate the image to my liking, as shown in one iteration, below.

To me, this is shear fun, all over again.

World, are you listening? Stop all the mayhem, and go for the fun. You heard it here first, fun is sustainable.

Sign Post and Surprise

Time and again, I am full of surprise and wonder when I see one of my works, sometimes older, sometimes newer, and I am reminded that, yes, I really did paint, or draw, or sculpt that.

I tend to rotate works around my house periodically and sometimes a work will end up in storage and out of sight for a while. The image may go out of my peripheral consciousness. When I see the work again, I have to look at it and imagine myself in the creative process. I remember the order of its creation, the drawing of a line, the rendering of a mass.

For a moment, I relive its birth and feel the joy all over again.

A Place To Be

A place to clear my head, that is, on the summit of Mount Pemetic. Everything that you need is there, sun, views, natural sculpture, blueberries. It is the doing, being, doing experience.

Just bring your own water.

Is a Dead Tree Really Dead?

No!

At the time that the tree stops functioning as a living, growing organism, as we normally think about it, it takes on a new life, a phantom, as host to the bugs, bacteria, bats and birds. As storehouse, condo, and insulator, it also continues to provide a measure of shade and wind protection. The tree takes on a magnificent sculptural appearance and patina as it points heavenward only to be brought down, ever so gradually, to nourish and renew the next generation. We could learn a lot from trees.

If “man is a tree of the field”, might not we have this sort of legacy or afterglow of purpose and poise?

Yes, and it is all by design.

Notan

There are satisfying and rich rewards to be rendered in the tasteful interplay of positive and negative space, that is, the interplay of light and dark, a concept known to the Japanese as "notan." This is a concept that is equally applicable to photography, painting, sculpture, typography, food preparation, and, well let's just say that we are limited only by our imagination.

The key is to observe the magic, and have fun with it.

Peace Rock

The Peace Rock has been found! The location? Mount Desert Island, Maine.

Re Stanislavski

Who am I?

Why am I here?

Where do I come from?

Where am I going?

Form and Color

You never know what combination of form and color will capture your imagination, and, thankfully, there can be no formula. When you see it, you know.

It is all to be found in the doing.

Just for Scale, Just for Fun

In the middle of "Between Stations" both 01 and 02.

Between Stations

Shown above is one of the newer paintings that I have done, a painting done with no road map and no preconceived ideas. I like it when I am surprised by the end results. Whatever it is, I always say that you can't get to the next piece until you finish the one that you are working on.

Often, I check to see if a work holds up from a distance, and, I have to say that this one doesn't do that. I think that you have to really get up to it to see what is happening in there, which is fine on a case by case basis. This painting is fairly large for me at 36" square so there is plenty of territory to check out, and, a lot of form interaction by virtue of the close proximity of elements.

Here is the fraternal twin to the above painting, also rather large at 40" x 30". It was completed in the same breath with its twin, and was just as much fun. This painting does hold up well from a distance. I just couldn't wait to do a painting with a color palette of red, yellow, white, and black.

Both paintings bring me back in a way, to earlier times. The first to a distinct memory of my early teens, and the second to a feeling, an emotion from my earliest years. In part, I think that is what the creative endeavors are about, a sort of mirror to your essence. The question is, can you really see?

Joy of Sepia

The subtle use of color, in the middle ground between "color" and "black and white" can be a feast for the eyes, revealing an entirely new image with a timeless quality.

Can you see the porcupine posed face in to the underside of the rock? Who says animals can't speak? I hear him saying "I will be here minding my own business, I recommend that you do the same."

In The Mix

I just completed three paintings in the last two days in the studio. These were all canvasses that went through a series of iterations over the past couple of months. In each case what had been was submerged deep below the gesso, building internal strength and muting the voice of the canvas to a whisper. I listened to that voice and the work has now become realized.

It is very satisfying to have them form into finished works nearly at the same time. I am not sure how I will see them in the morning, but it feels good for right now.

I love watching paint dry!

Joy of Grayscale

The interplay of dark and light has a magic all its own.

Joy of Color

Orange and yellow, and, their friends.

Sundogs

I heard the art teacher tell the young student that water could not be orange. I cringed inside. I bit my tongue.

I thought to myself, doesn't she know that water is colorless, that water takes on the color of reflected light in the surroundings, that water could be any color at all? There are a lot of reasons why water could indeed be orange. Has she not been to Venice Beach, California at sundown and looked out over the Pacific?

Even if water couldn't be orange, does it matter? In our creation, water could be any color that we choose.

Self Portrait in Computer Chip

My cousin David, childhood chemistry prodigy, who, as a boy in the early 1950’s, used to send his dad off with shopping lists that included the makings of complex high explosives, is known to say that all science, when artfully engineered, produces superior results over science that is not artfully engineered.

By the way, his dad got wise to him, closed down the chemistry lab and bought him a telescope.

Homage, Part 2

“Spread your color around”, he said. “Learn to accept constructive criticism, recognize that it is meant to help. Be true to your self as an artist” he taught, and, he was so right.

I owe so much to this man, Harold Zabitz, artist, teacher, man of his times. When I was in his class, I felt that I was exactly where I was meant to be.

He interacted with the likes of Jackson Pollack. He is as engaged an artist now as he ever was. He continues to inspire.

The Incarnation of Purpose

Once a hearth to warm the souls of roaring twenties revelers, this fireplace and stack survived the (alleged) torching for insurance money that destroyed the complex. Having sat for decades amidst the secret wooded refuge of motorcyclists and free spirits, known only as “The Ruins”, it now finds itself central to one of the premiere golf courses in the New York metropolitan area. When and what will be the next incarnation of purpose and design for this lone stone time traveler?

Live, thrive and survive to find out.