Showing posts with label contemporary realism. Show all posts
Showing posts with label contemporary realism. Show all posts

Sunday, April 4, 2021

The Coast, vaccine and Easter

                                       Dune and Sky watercolor on Yupo 26x20 inches, 66x51 cm


 It was just a proposal, nothing definite and certainly not a commission. Would I like to paint a coastal image for a commemorative poster? That`s my third attempt above and it`s from a 20 year old sketch. Below are the other two;


                                                       watercolor on Yupo 28x20 inches


                                                North Coast watercolor on Yupo 26x20 inches


 I`m not sure they are poster-grade images but I do know that I am finished with trying. If the impulse to paint an image doesn`t originate with me first, it`s hard to get at, to find an emotional core to guide me. This painting below I actually think would make a good poster and it was done last year;


                                           Coastal Nocturne watercolor on Yupo 26x20 inches



 My second shot of the vaccine was last week and I was elated the whole day. Freedom from fear! Yet it didn`t last, a celebration involves others. Until the country moves past this pandemic, the joy will still be  measured, hopeful and anticipatory. 
People I love, on the right and left politically, are refusing to be vaccinated. This is utterly shocking. Are they reading what Covid-19 can do to a person?? After what the world has endured the past year, it`s clear that this decision is political.  Also tragically misguided. Without mass vaccinations, the virus continues to mutate and elude its elimination. Who wants this to continue? Not a future for me. These holdouts will have to arrive at a different attitude in their own time. Persuasion isn`t possible yet. I hardly know how to handle my disappointment and anger. 


                                                           Peaches by Donna Thibodeau


The Brush and Palette group of Michigan painters asked me to speak to them in a Zoom presentation. I agreed though I wanted them to ask me questions. I have no agenda and am such a reluctant teacher because the role itself feels inappropriate. So I sent them links to interviews and my website and when the meeting commenced, they were prepared. Almost every educational situation I`ve led has focused on technical issues. Those are not unimportant but they are far less relevant to what an artist is 'saying'. I don`t know how to guide anybody through that question and yet it is the most important part of being a painter. Why do you want to do it? What compels you? Annie Lamott`s advice to writers is to write the books they want to read. What paintings do I want to see? It`s a simple but profound question. I do believe we all have a birthright to creativity. Yet even the most casual hobbyist is going to paint something. What will it be?
 The group asked me to judge a show of their work and the first prize winner was Donna Thibodeau`s Peaches [above]. I chose it for its clarity. From idea through execution, she succeeded in a forthright simple composition using clear, gorgeous color.


                                                          watermedia on Yupo 26x20 inches


                                                Reliquary 2 watermedia on Yupo 26x20 inches


                                            Untitled yellow watercolor on Yupo 26x20 inches


 My abstract efforts are still all over the map but I am making progress. They aren`t taking so long, just a couple of days. I haven`t found a language of my own yet but I`m closer. Concentrating my efforts to watermedia on the plastic paper Yupo has also helped along the evolution.

My buddy Jo Reimer sent out a notice about a new line of super opaque acrylics made by Golden. I`ve wanted a white as dense as oil paint. A holy grail of sorts. As I move away from oil painting the one thing I haven`t been able to replicate in acrylic is a spontaneous gestural mark that dries as it is painted, as it is wanted. A gesture is impossible to repeat if it dries looking transparent or equivocal. This drove me to oils in the first place back in 1984. I need my brushstrokes to be stable. In oil painting this is not a problem.
So anyway, I went to the Golden website and saw that they will do custom orders. I asked them for the densest white possible and it just arrived in the mail!


                                                  cartoon by Harry Bliss and Steve Martin



Easter Sunday again. Though it doesn`t seem to be the big deal of my childhood, I think it is a shared, welcomed holiday. Our country is more tolerant now in large part due to the decline of the church in our lives. This is a more secular country than ever. For better and worse. I left traditional Christianity as a teenager because the concept of a loving God punishing people in hell throughout eternity was a contradiction too huge to ignore. Upon inspection, other parts of the story didn`t hold up either. It looked pretty obvious that man created god in his own image. Yet the great philosophical-spiritual questions remain. It takes a lifetime to create a new understanding of the divine.

Then there is Pastor Adam Ericksen;

As a bird flies, the Clackamas United Church of Christ is may be five miles away from me. I saved this photo from a Reddit post. In the comments I read Adam walks his talk. That the church is actively helping the poor and desperate here in Oregon. The spirit of Christianity is as radical as you can get; love your enemy. Who can do that? Who will even consider it?
He`s on to something. A better world. 


                                           The Empire State building from New Jersey 1930`s


 Isn`t this photo phenomenal? Just imagine!
Somewhat similarly, I was running in a park in Queens once and saw only trees with the two towers of the World Trade Center above them. Then, I found a $50 bill on the grass!


                                                      by the wonderful John Felsing







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Monday, March 16, 2020

Hang on!

                                    Oneanta 2020 oil on canvas 50x40 inches, 127x101.5 cm


 Somehow I had enough concentration to paint this. Last week was tense but the foreboding arrived on the weekend. Every time our president was on camera it was clear we could not look to the federal government for guidance, assurance or even honesty. It`s becoming evident that the criminal lack of testing capability wasn`t bad luck but remained inadequate for weeks because the president didn`t want to see the higher number of infections. Saw the looming crisis only in terms of his re-election prospects. Many people will die because we lost the chance to track the spread of the virus. Like China finally did, or Singapore or Hong Kong. Even today, March 16, the administration is not making the processing of tests any more efficient by relaxing rules on which labs are licensed to run them. This is criminal negligence. Senate Republicans are objecting to the paid sick leave provisions in the emergency legislation passed by the House on Saturday, Fox news continues to downplay our urgent situation.
 A corrective is coming. The utter mendacity of Trump and his Republican enablers will be visible to everyone at last. Even to the cult of his supporters. We will all know some of the dead. We will all be much poorer. The election is won, the Democrats will have to clean up the disaster again.
 Within this sad and terrifying scenario, collectively we must reimagine our country. The catastrophe will make crystal clear how unjust and unfair our society is. Low unemployment and a booming stock market will no longer conceal the cruelty. Because of the profound lack of leadership now, the reassembling of our lives will take considerable time. We will have the chance to  fix it. Create the more perfect union. Address the fearsome change in the climate, outrageous income inequality, racial disparity everywhere, and finally get some common sense gun laws. Let the mass killings end.
 On our way to this better reality, I hope as individuals we can be actively kind and generous. An ocean of need will surround us. As one of my heroes Marshall McLuan said "every breakdown is a breakthrough". A crisis is too good to waste.





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Sunday, February 9, 2020

Darkness and Light

                          Rainforest Equinox 2 watermedia on Yupo 19x14 inches, 48x36 cm


 Ok then, the Senate has spoken. I feel better now. The citizens of this country were either paying attention or they weren`t. If extorting a country at war on behalf of your own reelection isn`t impeachable, what is? The view of a political party utterly exposed in its cowardice and corruption was breathtaking. Now we know beyond any doubt, Trump is not the cause of this collapse, he is the result. Everyone can see it. Are there enough people who care? Time will tell.
A new political scientist has a theory of modern elections that makes sense. Turnout is everything and what drives turnout is fear and loathing. Democrats could not be more motivated to get Trump out, and thus will prevail. She was one of the few who predicted correctly the huge gains in the 2018 midterms.

 The light is stronger and the day lengthens with each new sunrise. I`m finally feeling like myself.
 The impeachment gave me clarity and closure oddly enough. And for what it`s worth, this democratic socialist believes what Amy Klobuchar says. She can beat him.



                                                        cartoon by Kevin Siers



I`ve been painting but not so sure of the quality. Nonetheless I know from experience, that nothing good or bad will happen without a brush in my hand. Working heals. To make things is to be sane.



                      At the Edge of the Meadow watermedia on paper 19x14 inches, 48x36 cm



                                La Serenisima watermedia on paper 12x9 inches, 30.5x23 cm


 The always graceful Tualatin River beneath those trees.



                               Christmas Morning watermedia on paper 19x14 inches, 48x36 cm





                                                             by Peter Archer


                                                              by Peter Archer


                                                                   by Peter Archer


 I`ve been enjoying Peter Archer`s bleak vision lately. Like a sad love song, it hurts in the best way. Austere and brooding though they are, a small hopeful quality is also present. Beauty can survive the darkest situation.



                                                                 Where`s Carter?



                                                                    Fred Stonehouse







click HERE to see work for sale in my studio


Sunday, January 12, 2020

Happy New Year?

                                     Outback watermedia on yupo 26x40 inches 66x101 cm


 It was a sad beginning of the new year and it started before Christmas. The impeachment debate in Congress was so utterly discouraging. A whole political party stonewalling the constitution, undermining our democracy and pretending that the President`s behavior was normal. The holiday arrives and I`m blindsided by grief once again, missing the half of my original family that`s gone. The fires in Australia just get worse and worse, people are camped on the beach or in boats trying to escape,  while millions upon millions of innocent animals perish. On the West Coast of the US we have seen voracious fire storms in recent years so it is extremely imaginable. The terror and loss of life and habitat are overwhelming. Then our commander in chief takes out an important, if evil, Iranian general to prove something that is never clear. For several days it seems we are on the brink of war!
Not the calm beginning I wanted. January is best when it`s quiet and productive but 2020 has been anxious and dispiriting.
 At least, finally!, an Evangelical Christian leader spoke truth to power and said what most people think. He is morally unfit for office and should be removed.
 I hope the Iranians really have concluded their almost symbolic retaliation. I hope Australia cools down in a widespread rain. I hope against hope the Republican party will put their country first.
 The painting above was not an intentional response to the fires in Australia. But as with any deliberately abstract painting I do, I`m lost at the outset. When I began this all I knew was I wanted a golden warm palette. Here was my opening move. Acrylic medium with purple quickly brushed on followed by an orange soup.




Big mess on the floor as the paint flowed down and off creating a veil.

Making a donation to the International Fund for Animal Welfare was definitely helpful to my mental health.
Here is a very interesting article on 'cultural burning', an Aboriginal technique of a slow circular intentional burn around structures enabling them to withstand wildfire.



                     Trees in the Autumn Marsh watermedia on paper 19x14 inches 48x36 cm

This is my most recent painting. The wetlands of Fanno Creek become colorful after the leaves fall. The marsh shrubs are densely entwined and at a distance look almost cloudy. I did a study soon after my walk through the area a couple of years ago;


                                                                     oil on Yupo



                               Rainforest Canal watermedia on paper 19 x14 inches 48x36 cm

An improvisation from memory of the lush canal that feeds Lake Oswego.



                                                          by Eva Lundsager


                                                            by Eva Lundsager


                                                                  by Eva Lundsager


 Eva Lundsager has been a favorite since I stumbled upon her in 2012. She paints in oils too but I always think of her as a watercolorist. She loves transparency and also the landscape. The work seems in motion. Using saturated color her work is celebratory but never shallow.



                                              View from Muley Point by Thayer Carter


                                                        Gates Pass by Thayer Carter


                                                   Vermillion Cliffs by Thayer Carter


 Thayer Carter is a friend from my time in New Mexico. He`s also the grandson of Rockwell Kent.



                                                                  by Rockwell Kent


 He`s told me he doesn`t even try anymore to paint deliberately different from his grandfather, he has the same vision: a reduction of the landscape into simpler solid forms with radiant light. I think it`s the same phenomena as my father and me having similar handwriting. It fascinates me that mark making could be genetic.
 Thayer`s work is carefully composed to give his subject an unequivocally dramatic presentation.
 Nearly two years ago he was invited to spend time in the former Rockwell Kent home in Newfoundland as an artist in residence. Granddad was controversial in the community but they welcomed his progeny.



                                       



He was great, just not the servant I expected. Most parents are heroes. I wanted this badly and there he was on Christmas morning.




                                                            by David Fullarton

grateful to be a painter!



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Saturday, December 14, 2019

Yule

                               A December Dusk watermedia on paper  19x14 inches 48x36 cm


 It`s back, the Yuletide, aka Christmas.
Just a month ago it was visually autumn, but not now. At this northern latitude the day is brief and the night, a long one. Many years ago I learned not to get frustrated by the ridiculous amount of daylight. You prioritize what will be done and let slide the rest. I don`t see very well at night.
This thoughtful NYT essay on the darkness preceding Christmas as a time of reflection made sense to me. The twelve days of Christmas begin on the 25th, not conclude! In pre-Christian Europe the party begins just before the winter solstice. A thousand years ago the old traditions were blended into the new religion. When and how the 'holidays', Thanksgiving through New Years, supplanted the twelve days of Christmas, I don`t know, but I like the former idea. All this seasonal gloom makes for serious introspection and focused work and then I need a break! Christmas comes in time, I just wish it would last.


                                                               by Emil Robinson



                                                     White Crossing by Don Gray


Last weekend I went to see "The Long Story" at the Murdoch Collections in NW Portland. My pal Don Gray is showing a selection of works along with ceramic pieces by Sally Squire, curated by Jeffrey Thomas, a well known local gallerist. With many phases of Don`s work represented, it was like a little retrospective in a museum.


                                                               Taut by Don Gray


 Don works figuratively and abstractly and they seem to be merging. After a long career as a muralist, he is now concentrating on studio work. It`s this new stuff that really gets me;


                                                    Seeking Level #28 by Don Gray


Seeking Level #28 I had seen on Facebook but it was entirely different in person. There is such a brave confrontational quality to it. The two white shapes at the bottom are covered in marks that remind me of scrimshaw. They face the dark void of that cold sea as guides or guardians. The painting is big and immersive with its emotional effect growing stronger with the time spent looking. I know his work well and I think this is one of his most important.
 The painter, and my friend, Jean Dupre was with me and on that quiet Saturday we had a long entertaining visit with lovely Marilyn Murdoch, the gallery owner and a maniacal art collector. God love her.
 The exhibit lasts until January 25. It`s well worth a visit.
2219 NW Raleigh
Portland OR 97210
hrs; M-F 10-6, S-10-5


Take a look at Jean`s work too, she has updated her website;


                                                               Iris Glow by Jean Dupre



                                                        Pigment Erosion by Jean Dupre



                                                     Tangled Blossoms by Jean Dupre


 She likes Yupo too. We discuss strategy.


 Speaking of websites, instead of updating mine at the end of the year like I usually do, I`m releasing my generous and patient designer, Jeremy McWilliams, from the task and he has agreed to give me a tutorial on how it`s done. Teach me to fish for myself after twelve years. I want to be able to make additions and revisions throughout the year. It`s time and I know there are Boomer friendly services with templates and programs to make this possible. Any suggestions? Especially any that would allow me use my domaine name instead of being part of a larger group like FASO? I`d appreciate any tips. I`m not illiterate but not so bright with digital matters.





 Not to be a downer, but the election in the UK last Thursday ought to strike fear into the hearts of all Democrats and other patriots. The overwhelming Conservative victory is a dread omen for our 2020 presidential election. Working class, industrial regions voted Tory for the first time in memory.
I lived through the demoralizing elections of 72 and 84 and feel that progressive or moderate isn`t as important as a candidate that can inspire the imagination. Make us proud of our diversity, and generate excitement in tackling the urgent business of our time. Specifically global warming. With some vision, that challenge could be the great project of our country and benefit the economy as well. With unemployment so low, this is an ideal time for bold thought and action. Someone is going to make a lot of money with biodegradable plastics, cheap solar technologies, plentiful charging stations for cars and so many other vital responses to the coming catastrophe. Why not us?
Our country is in deep trouble. This is now a knife fight with the Republican Party and its Russian owners. For the first time in my life I can imagine the military having to get involved with our politics. I hope I`m wrong.


                                   Surrounding the Creek acrylic on Yupo 26x20 inches 66x51 cm


 In the end I was happy with this but my intention was thwarted immediately. I thought I had tried watercolor on gessoed Yupo before and found it interesting. Not this time. It beaded up and was useless, so this became an acrylic painting using an oil technique. I wasn`t sure I could do it or even if I wanted to. It looked like classic impressionism even though the mentor in mind was Phillip Guston in his early work. Hopefully my erratic marks tilt it to the contemporary.



                     The Storm is Coming #2 watermedia on paper 19x14 inches 48x36 cm


 This was a response to a long time collector who wrote to ask about the availability of #1. It had been sold, I told him and didn`t think anymore about it. Until my next painting went terribly wrong midway through. I wondered if I could make it into a new version of The Storm is Coming. Sure took a long time and the tone isn`t as urgent, but I prevailed. I loved using some pure red too.





 Yet another European Christmas tradition, Krampus!








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