Wednesday, January 9, 2019

New Forests - teaching questions

                                                           watermedia on Yupo 14x11

 No titles on these new works yet, it`s been mortal combat just to get something decent.

                                                          oil on multimedia board 14x11

                                                       watermedia on Terraskin 16x11

                                                             oil on multimedia board 7x5

                                                  watermedia on Terraskin 14x28

 With each recent painting, I`ve been mentally verbalizing what I`m doing. In early February I`m teaching a workshop in Seattle and want to be prepared. Talking while painting is something I discovered I can do and it`s the only way it feels natural to teach. The class is just two days so I`m trying to distill what I do into concise helpful units. For example I`m taking and will talk about a big variety of brushes. When I`m in the fray, I choose which one to use much like a surgeon would. Carefully. Each type does something specific and I believe the right choice is crucial. That being said, I also believe they should be inexpensive. Precious tools and materials really inhibit me.
A friend suggested I talk about color, she thinks it`s the most distinctive aspect of my work. It might be the most subconscious of my decisions too so I am happy she pointed it out as worthy of a discussion. Do any of you who look at my blog and work have any thoughts as to what you might  like to hear from me in such a setting? I`m not fishing for compliments, I`m just curious what others think is important in painting. I`ve never taken a workshop like this and I want to provide as much useful information as possible.
I will talk about having a real connection to your subject and the importance of knowing your reasons for painting and of what your ideals might be. These psychological questions are often uncomfortable especially for new painters yet they are worth asking though as the answers can set a course of forward motion.
Thinking about the process so much makes me realize how individual and instinctive it all is. Just the way we hold a brush will determine the sensitivity and energy of the mark it makes. And how we hold it is also probably genetic. It`s not a coincidence my handwriting looks like my Dads`.
There is plenty to love in painting, just creating something is often thrilling. If we go deeper, get more personal, we will encounter true tests of our character. If our best self prevails in those situations, painting becomes our companion and the real fun can begin. If I can make that experience more accessible, I will be happy.

                                          a poem from Martha Graham to Agnes DeMille
                                         [thanks to Dana and Laura]

                                                       Chasing Rivals by Matthew Dibble

                                                       Mecca Chip by Matthew Dibble

                                                        Earth Vanishes by Matthew Dibble

 I`ve mentioned Matthew before, I think he is truly an exceptional painter. He walks right up and steps into the shoes of Willem de Kooning, one of the greatest artists in history. Without explanation or apology Matthew extends the territory of abstract expressionism. His personal story is an inspiration. The investment group, Brighthouse Financial, made a little commercial/promotional video featuring Matthew, and it`s sweet. His show 'Legendary Bog' is up at the First Street Gallery in New York until January 26 2019.

 In New Mexico, I almost always knew what phase the moon was in. I worked at night and in the Southwest it is impossible to ignore the sky. Now in the Pacific Northwest, hardly ever. Too many clouds and trees! With this chart I can check with a glance.

 Here is a man who paints with the tide.

work for sale in my studio

Workshop in Seattle Feb. 2&3

Prints from Fine Art America