This is a visual example of best laid plans. So much for working on my big trompe l’oeil project consistently (if you have no idea what I’m talking about it’s because you’re not following my Instagram. I’ll bring you up to speed here a bit later). I would love for my artistic urges to line up with my practical schedule I lay out for myself with projects I’m juggling. It’s complicated, here’s today’s urge that pulled me away.
There’s so much I could say about this painting - about how it helped push my practice, my mindset about what I want my work to be, how it helped me further let go of caring about how my work is perceived, and how it gave me hell but was worth every second I worked on it and pushed through. But instead, I’ll just show you the label I’ll be affixing to all these pieces moving forward. I dug up a saucy antique printing block and, well, it just seems appropriate that they’re now a mark for this series.
I think the top most frustrating thing as an artist (for me) is when things that usually come easy to you - because you put in years of practice - stop flowing. Being creative is most certainly a muscle you need to constantly flex and condition and even then you’ll have an off day. Normally the drawings I map out for my Touch series flow easily and I’m able to imagine all the spatial arrangements needed without too much difficulty, but this one was a couple days struggle. To decompress before I move this onto canvas I had to just find space to play. So here’s the original digital drawing and a little abstract color play alternate. Now to get this started as a physical painting, take it in a new direction, and hope it comes together with fewer mental blocks.
January’s almost gone and this is the first bit of art I’ve done yet in 2019. Adult responsibilities… goooo away. Anyway, you can find prints of this in my online shop. Hopefully I’ll have time to lock myself away in my studio soon and finish/start a few paintings. Here’s to hoping!
For a long time with my art I was concerned with subject matter. I didn't know what I wanted to paint, and over the years I've honed in on what I like: nature, mostly, architecture, and people, sometimes, but not in an academic realism sense. As you can see in my abstract limbs series I focus on representations of people and their suggested actions, asking you to look long enough to decode its imagery. Now I've come to the point where I know what I like to paint and I'm trying to push myself in technique. I've recognized I own a duality that, on the one side, causes me to obsess over accuracy, and on the other, an emotive side that wants things looser and more gestural. With each piece I've been working on lately I've been focusing on getting the grander image accurate and the details more instinctual. Trusting your gut is a terrifying business. Refining these two forces that pull in opposite directions is what I'll be working on this year, and here are a few of the pieces that have come of it so far.
It's been about seven years but I'm back in California and I'm pretty stoked about it. Sorry for the silence, the move was a three month long odyssey. So anyway, here's some new work.
It's always a good thing when the first piece you finish in a new year turns out to be something you absolutely love.
What I really enjoy about this series is that, at quick glance, it's fairly innocuous. I give the suggestion, but your imagination has to do much of the work. It can be as provocative or tame as your attentions allow.
This series took a turn out of the meadows and into the tropical. Just in time for fall (my brain makes decisions even I don't understand.)
Sketchbook experimentation leads to new things. Rolling with it.