I like painting ordinary things and places. I like the way that just observing an ordinary thing can make it remarkable.
I have been thinking about time and place lately, and how they leave their marks on everything. You can’t run from it. If an artist does, and tries to make something that looks like it is from another time and place, that artist runs the risk of seeming pretentious. (Did I just put Steampunk in a category with Thomas Kinkaide? Why, yes, I think I did!) What I would rather do is make something that is friendly with being from the time and place in which it was actually made, but at the same time contain elements that are somehow compelling, even when taken a little out of context, and as time moves on.
I really haven’t updated in a while. I painted this cicada skins this spring when areas around Richmond were over-run with Brood II magicicadas, a once every 13 year occurrence. At the time I was thinking that I’d dedicate my summer to paintings of small things, like this, but wound up back outside looking at spaces again.
Even though I’m more interested in the challenges of composing a painting of a space right now, I haven’t completely abandoned figurative work. Here’s a little self portrait I did the other night, with some low-quality images taken with my phone as I worked, for anyone curious about the mess that I start off with.
This was one of more challenging paintings I did this summer. The only light source in the painting is the full moon, which was so dim that I had to turn off my headlamp and wait for my eyes to adjust to see it. Not only that, but I had to wait a month after doing the initial studies to go back and paint it.
I’ve spent some time away from my blog, but not painting. It’s a little embarrassing that my friend John Glover has more recent examples of my work on his blog than I do here, so here’s some recent work. Stay tuned, more to come soon.
I worked mostly on some larger (for me, most of them in the 4′ range) night time landscapes this summer. I only did a handful of them, but working on site with this scale is a little bit on the slow, labor-intensive side.
Here’s an out of focus hand-held photo of one of the paintings that earned my current exhibit a parental warning. At Eric Schindler Gallery through June14
|elaine jones on Drawing in Class|
|tovanauken on Missing In Action|
|Me on Missing In Action|
|tovanauken on Important Work|
|Cathleen Corrie on Important Work|