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.
While you’re busy letting thoughts for new work fully form, you mess around with digital. Or, at least that’s what I do. I have two paintings in my head that aren’t ready for canvas so here’s an illustration I did based off one of my favorite photos of Gene Kelly. Because, Gene Kelly.
Nothing in my work flow ever seems to go to plan. Got set up last night to figure out the final elements of a painting I’m working on when flipping through my inspiration folder brought up a photo of a face. I started mindlessly sketching to get in the flow and then this illustration happened. Didn’t get anything done for the painting. Oh well. That’s how it goes sometimes. You need to listen to the muse and not fight it, I’m not upset about it. I rarely have the interest to draw people - couldn’t tell you why. Perhaps an over saturation of faces in art leaves me wanting to focus on other things, but once in a while I’ll see a face that makes me want to create.
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!
If there’s one thing I love doing with my art, either on a micro scale within one single painting, or on a larger scale with a series - it’s storytelling. I don’t want my art to be something taken at face value, and so I’m really, really excited about my latest project that will culminate in my second book (First book? You say - click here). I detailed a little bit about it in my previous post (you can read it here), I’ve built up over 20 illustrations so far (check them out here), and I’m busy building out the written story itself. It’s taking shape organically as I create the pieces that inform the story, and the written story is inspiring new illustrations. It’s a super rewarding process, regardless of outcome - though I’m working hard to make the end result deeply interesting, and a book worth reading as well as collecting.
Although a lot of the work I’m doing on the art end of this has been digital (as I decided to work within the Inktober format, and to push out a full illustration a day is rough enough on its own, doing it traditionally would have been near impossible to keep up with for this project), I am going to be pulling ideas out of my digital work and creating hand drawn pieces as well as hand cut, hand pressed limited edition prints. These will be available as I go through the process of putting this all together. I’m thinking giveaways and/or a kickstarter? Those details are still a ways off, but they’re in my mind, and if you’d like to not miss anything, please join my mailing list (that form just off to the right) and keep up with my Dark Mysteries.
I don’t often draw people. Couldn’t tell you why, I find people insanely fascinating on so many levels, but it just takes a lot for a face to catch my eye and compel me to draw it. I’m working on changing that by getting some digital drawings together of faces I find intriguing - that all seem to be coming from the vintage fashion loving crowd. (Perhaps this has something to do with my love of Mucha’s ornately attired women.) This is burlesque performer Dandy Dillinger.
I've started a new series in earnest that's taking on a life of its own. It began with the simple idea of explaining how all my work comes together - both as a visual catalog of what inspires me, and to show what is constantly knocking around in my mind that informs the more involved paintings and compositions I pursue. It's also helping me work on what I set out to do at the beginning of this year, which is loosen up my style. Each of these paintings is one brush stroke closer towards instinctual mark making while letting the overly-focused/critical side of my brain rest after doing the heavy lifting with composition. I have to admit it's a freeing way to work. I'm holding myself to as few rules as possible while doing this in order to allow each piece to stand alone and be as idiosyncratic as it needs/wants to be. The only task I've set for myself is that each successive painting must have elements of the directly previous one - whether it be an object, shape, pattern, or just a color - and imagery from paintings previous in the series can and should pop in and out. So this first series is now starting to build momentum, and I'm really loving where it's going. I hope you'll consider following along with each new piece on my Instagram.
I'm calling it "Roaming Abroad" as that's what and where my mind always is, and by you engaging with it you're doing the same, taking time to explore the landscape I've created for you.
A life goal of mine is to one day live close enough to Venice that I can take off to paint it whenever I need. And painting Venice is, most certainly, always a need.
I couldn't tell you if it's the weather or just a new pace my life is taking, but I'm embracing the slowdown as I let ideas simmer. In the meantime, here's another digital piece inspired by Mughal carpet designs, the scent of flowers on a warm wind, and one of my favorite colors - persimmon.
I don't remember the first time I saw Turner's abstract atmospheric paintings, but I do remember how they made me feel. It was like a lightening bolt - they woke me up. The energy in them is insane. I particularly love Nocturne Black and Gold: the Falling Rocket, and Fishermen at Sea. My worship of a stormy sea rolls deep, and so here is a little digital painting in the vein of Turner.
Some new digital work happening now that I was able to get Procreate back into my process. What a relief, it's such an amazing asset to have for working on the fly, for figuring out new ideas, or just practicing techniques. It's so important to my work flow that I'm really going to be able to kick it into overdrive now, and I could not be happier.
True story. Well, actually, it's an historical fiction, but it is indeed true that I published a novel, and it's currently free to download in Kindle format this week. So if you're at all curious, click the cover to the right (which I also designed and painted) to grab it. Truly hope you enjoy and would love to hear your thoughts if you do give it a read.
A little plein air piece from a few weeks ago up at the San Diego botanical gardens. They have a really energetic and moody waterfall tucked in the hillside whose course and chatter I'm sure I wouldn't tire of even if I sat by it for days and weeks on end.
I'm currently in my studio wrapping up a piece from my main series of work, and although it's been stop and go for me over the past few months I'm looking to remedy that this week. Excited about it!
New thoughts, figuring out new ways of deconstructing compositions and layering that leads to an impossible to photograph painting = another day in the office.
There's just something about the rocky coastlines here in California that draw me in, and they're either wonderfully caricatured or frustratingly impossible. This one started out the later but I tamed it to the former. A little cove down the street from my house - my favorite spot to tuck away on sunny days.
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.
Sometimes a commission comes my way by request of a passionate art collector who offers me the freedom to really stretch out and push the themes I've been working in - these are the types of requests I live for. I was asked for a mother daughter portrait in a dreamy format incorporating the abstract florals I've been using in my watercolor and limbs series (I've yet to come up with a name for this series. Working on it.) This watercolor portrait is the result and I couldn't be happier with it. If you're at all curious to see the stages of this painting I've been trying to update more progress shots of my work on my Instagram account. Click here to see.
It's been a while since I've had the time to dedicate to a lush piece. This one is titled "Natural State" & includes botanicals I chose because they're some of my favorites as opposed to their meaning - which is normally the way I compose these paintings.
In case you were curious:
monstera leaf, blue bird of paradise, zygopetalum orchid, winterberry, kiwi vine, clock vine, chocolate cosmos, foxglove, rubber plant, lunaria, fern curls, blue Himalayan poppy, maiden hair fern.