Blog 2008 r
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1/4/2008 The start of a new year - the start of a new blog. After the awesome energy surrounding the Thirty! show I found myself tentative about painting.
Still looking forward to the time I re-enter. Probably sooner than later! Seemed natural to transition into printmaking. Found Bite Studio and have spent many
hours there. With help of G Strider, I'm feeling back in the swing - etching again. Also spent a fantastic morning at Prints for Pica learning from folks there.
Have tried my hand at monotypes. Not sure where this will lead. I've begun editioning two plates, and have a number of monoprints from those two and one
other. Am finding it is very fulfilling to creatively ink the plates - rather than focus on creating editions. Yet, I am also creating editions. Ghost Rider and
Winter Ride are examples of monoprints pulled from the same plate - but different inking. I've decided this plate will never be editioned - just too much fun
and results too good from monoprints. The other I'm posting here, Jester Calls a Meeting, is my first editioned print in a really, really long time. Feels great....
My images are not sketched out, or transferred onto the plates. I sketch like a doodle into the hard ground, and see what comes...
Still looking forward to the time I re-enter. Probably sooner than later! Seemed natural to transition into printmaking. Found Bite Studio and have spent many
hours there. With help of G Strider, I'm feeling back in the swing - etching again. Also spent a fantastic morning at Prints for Pica learning from folks there.
Have tried my hand at monotypes. Not sure where this will lead. I've begun editioning two plates, and have a number of monoprints from those two and one
other. Am finding it is very fulfilling to creatively ink the plates - rather than focus on creating editions. Yet, I am also creating editions. Ghost Rider and
Winter Ride are examples of monoprints pulled from the same plate - but different inking. I've decided this plate will never be editioned - just too much fun
and results too good from monoprints. The other I'm posting here, Jester Calls a Meeting, is my first editioned print in a really, really long time. Feels great....
My images are not sketched out, or transferred onto the plates. I sketch like a doodle into the hard ground, and see what comes...
Ghost Rider
Winter Ride
Jester Calls a Meeting
4/6/2008 This year has been a bit of a whirlwind of show preparation. So much time spent on framing, cutting mats, designing show cards, maintaining
communication, taking photos of artwork... My oh my, really something how much time this can eat up. I have a precious window of free time during the
weekdays - about 10-2 for printmaking. Have found myself slowing a bit. Really struggled to bring Edwards Park to a conclusion, and ditto with "Opening".
My aquatints were fading too quickly, and I had difficulty finding direction with Edwards Park. Think I solved the aquatint mystery.
Then, I began an acrylic memory painting - Wet Fog Portland Spring. Felt tremendous to be able to work so directly and have results so quickly. Was a
yummy, wonderful time. I also enjoyed the size - 24x36. So, currently I'm really pulled between continuing my climb with the etchings, or putting them aside
for a bit to paint the landscape again. Days are too short, and my alone time is too limited to do both in a really focused way (at the same time).
All that busy time I spoke of earlier has led to some really good things - CAP Auction last night was tremendous, so glad I attended (thanks to Ben Pink for
getting the word to me), SE Artwalk was successful in many ways, I've met some wonderful people/artists through organizing Love In Print, in a few days I'll
be at Buckman, my first ever 'cafe shows' are on the horizon, and I got into the Portland Open Studios. Well Shit! Last fall I visited artists on the open studios
tour, and wondered when/if I'd be doing it - hadn't even gotten back into printmaking at that point. And now these etchings have become a kind of boat that I
can ride on down an interesting river - alongside other boaters.
communication, taking photos of artwork... My oh my, really something how much time this can eat up. I have a precious window of free time during the
weekdays - about 10-2 for printmaking. Have found myself slowing a bit. Really struggled to bring Edwards Park to a conclusion, and ditto with "Opening".
My aquatints were fading too quickly, and I had difficulty finding direction with Edwards Park. Think I solved the aquatint mystery.
Then, I began an acrylic memory painting - Wet Fog Portland Spring. Felt tremendous to be able to work so directly and have results so quickly. Was a
yummy, wonderful time. I also enjoyed the size - 24x36. So, currently I'm really pulled between continuing my climb with the etchings, or putting them aside
for a bit to paint the landscape again. Days are too short, and my alone time is too limited to do both in a really focused way (at the same time).
All that busy time I spoke of earlier has led to some really good things - CAP Auction last night was tremendous, so glad I attended (thanks to Ben Pink for
getting the word to me), SE Artwalk was successful in many ways, I've met some wonderful people/artists through organizing Love In Print, in a few days I'll
be at Buckman, my first ever 'cafe shows' are on the horizon, and I got into the Portland Open Studios. Well Shit! Last fall I visited artists on the open studios
tour, and wondered when/if I'd be doing it - hadn't even gotten back into printmaking at that point. And now these etchings have become a kind of boat that I
can ride on down an interesting river - alongside other boaters.
Edwards Park
Opening
Wet Fog Portland Spring
5/2/2008 Have begun working on collaborative etchings for the Panoply show. One of the coolest parts
its getting to spend a bit of time with artists whose work inspires me. Also, butterflies in my stomach and
a bit of fear when its up to me to make something from their drawing. A good thing. Yes, feeling the
nervous twinge of pushing against my limits is a very very good thing. I'll post images soon.
its getting to spend a bit of time with artists whose work inspires me. Also, butterflies in my stomach and
a bit of fear when its up to me to make something from their drawing. A good thing. Yes, feeling the
nervous twinge of pushing against my limits is a very very good thing. I'll post images soon.
7/3/2008 Am painting again. My original plan was to begin painting again in April/May - but it just
didn't happen. But, now it has - a workshop with Jef Gunn did the trick. 5 days of painting. The
necessity of making time - finding childcare. No excuses. The workshop was a contemporary
approach to painting the landscape. Still questioning what exactly a contemporary perspective is. So
much has been done before. I'm still making my way through a jungle of thoughts, ideas,
techniques, abilities, vision... For me, painting the landscape grows from being enamored with light
and an interest in understanding the places I inhabit. What is it about colors that can do so much,
mean so much? Why is it that some paintings seem alive, and others feel, well, nothing? The
painting to the right, I think, is starting to capture some of that 'life'. The light and feeling of it felt
right - and the painting didn't require 'work'. Parts are 'unfinished' but to 'finish' them would drain
them. Others I've painted over the last week (waking early in the morning mostly) don't have the
same feeling for me.
didn't happen. But, now it has - a workshop with Jef Gunn did the trick. 5 days of painting. The
necessity of making time - finding childcare. No excuses. The workshop was a contemporary
approach to painting the landscape. Still questioning what exactly a contemporary perspective is. So
much has been done before. I'm still making my way through a jungle of thoughts, ideas,
techniques, abilities, vision... For me, painting the landscape grows from being enamored with light
and an interest in understanding the places I inhabit. What is it about colors that can do so much,
mean so much? Why is it that some paintings seem alive, and others feel, well, nothing? The
painting to the right, I think, is starting to capture some of that 'life'. The light and feeling of it felt
right - and the painting didn't require 'work'. Parts are 'unfinished' but to 'finish' them would drain
them. Others I've painted over the last week (waking early in the morning mostly) don't have the
same feeling for me.
7/13/2008 Sometimes a painting ends up being worked. Consciously worked. This painting took a
very long time. Think I was in the same spot for at least 5 hours. Its a curious arrangement of
things. Massive concrete bridge feet, geese, far-off festivities, even a frickin flag. So, from
rejoicing in the loose, unworked of 7/3 became a painting that was also continued at home. Yet, yet,
I'm liking this one. Its kind of growing on me. I took the tack of not editing. Interesting, only at the
end did I really notice, and then paint the red light - looking right at me. I like the way my eye
bounces from this to the geese, to the small flag, then wanders among the blues festival tents, and
looks for a friend on their boat. Enjoying scratching lines with this one. Crazy, odd composition.
very long time. Think I was in the same spot for at least 5 hours. Its a curious arrangement of
things. Massive concrete bridge feet, geese, far-off festivities, even a frickin flag. So, from
rejoicing in the loose, unworked of 7/3 became a painting that was also continued at home. Yet, yet,
I'm liking this one. Its kind of growing on me. I took the tack of not editing. Interesting, only at the
end did I really notice, and then paint the red light - looking right at me. I like the way my eye
bounces from this to the geese, to the small flag, then wanders among the blues festival tents, and
looks for a friend on their boat. Enjoying scratching lines with this one. Crazy, odd composition.
7/25/2008 A few days ago I headed out to catch the evening light. I ended up parking on Clay -
down by the river (east side). I found a path down to the river, but this area doesn't have a flat area
- just big rocks. I ended up using my easel without the legs - balancing it on a rock, and I sat on
another. It was challenging - but damn it was so beautiful - and I love the feeling of painting in
solitude. There were occasional boats, geese, and cars overhead (every now and again I could catch
a bit of their music.) The sun dropped - and the angle of the reflections in the water changed. I
appreciate the angle the sun drops after painting outside so often - it doesn't drop straight down, but
arcs. Always cool to experience this. When the sun was very low I glanced up to the black glass
clad downtown building - the sun was behind it and it was suddenly wet with molten sunshine - one
surface was glowing orange - and no longer appeared solid. So... maybe next year, same time, same
place, but begin the painting with a different view...
down by the river (east side). I found a path down to the river, but this area doesn't have a flat area
- just big rocks. I ended up using my easel without the legs - balancing it on a rock, and I sat on
another. It was challenging - but damn it was so beautiful - and I love the feeling of painting in
solitude. There were occasional boats, geese, and cars overhead (every now and again I could catch
a bit of their music.) The sun dropped - and the angle of the reflections in the water changed. I
appreciate the angle the sun drops after painting outside so often - it doesn't drop straight down, but
arcs. Always cool to experience this. When the sun was very low I glanced up to the black glass
clad downtown building - the sun was behind it and it was suddenly wet with molten sunshine - one
surface was glowing orange - and no longer appeared solid. So... maybe next year, same time, same
place, but begin the painting with a different view...
8/5/2008 I'm beginning to feel the effects of rising at 5am several days in a row to paint. Parked on
Hawthorne, and began a 16x24 canvas (large for my plein air) a couple days ago. Got a great start -
cloudy day, enjoyable composition and colors. But, didn't feel complete/ready. Went back the next
day, alas, clear sky - orange sunrise. So, I rolled with it and began another, same large size, alas,
also didn't feel ready. Third morning - back again, orange sky, surely today one will come to
closure? Not to be. Thought it was, but I lost the path on it. Probably something to do with the
fact that I was up until midnight 'on path' with the flowers to the right. We'll see what tomorrow am
brings... Going back to an unfinished painting is tricky. It will all change (ideally), and the path will
be in a different place. Can be hard to let go. Yesterday thought it would be cool to paint a still life -
found flowers in my yard. Not a very 'still' still life. Flowers move when their light conditions
change. They reach toward the light, some droop or lose their petals. Slow movement. Interesting
too. More than a few times I felt unsure this painting would 'close' or come to a stopping point
(finished is too brutal a term). But I stayed with it, drank wine, listened to Led Zeppelin and the
Gorillaz - and it came to a place that felt very exciting. The last few minutes were a kind of blur of
kinesthetic painting. The words that I scratched in later a kind of prayer. The rhythm of 'still' life
painting is pretty alright.
Hawthorne, and began a 16x24 canvas (large for my plein air) a couple days ago. Got a great start -
cloudy day, enjoyable composition and colors. But, didn't feel complete/ready. Went back the next
day, alas, clear sky - orange sunrise. So, I rolled with it and began another, same large size, alas,
also didn't feel ready. Third morning - back again, orange sky, surely today one will come to
closure? Not to be. Thought it was, but I lost the path on it. Probably something to do with the
fact that I was up until midnight 'on path' with the flowers to the right. We'll see what tomorrow am
brings... Going back to an unfinished painting is tricky. It will all change (ideally), and the path will
be in a different place. Can be hard to let go. Yesterday thought it would be cool to paint a still life -
found flowers in my yard. Not a very 'still' still life. Flowers move when their light conditions
change. They reach toward the light, some droop or lose their petals. Slow movement. Interesting
too. More than a few times I felt unsure this painting would 'close' or come to a stopping point
(finished is too brutal a term). But I stayed with it, drank wine, listened to Led Zeppelin and the
Gorillaz - and it came to a place that felt very exciting. The last few minutes were a kind of blur of
kinesthetic painting. The words that I scratched in later a kind of prayer. The rhythm of 'still' life
painting is pretty alright.
8/29/2008 I've just returned from a trip to Colorado and few days in New Mexico. While in
Colorado, I took an old landscape painting and used it as a base for a dream painting (for Launchpad
show in Oct.). Really fun to try something different - more like my etchings, yet with oil. Hmm..
Have posted a few paintings from this trip (plein air) on oil paintings page. Oh, it is titled "Lucky
Elephant on the Horizon and Nature Boy's got my Heart"
Colorado, I took an old landscape painting and used it as a base for a dream painting (for Launchpad
show in Oct.). Really fun to try something different - more like my etchings, yet with oil. Hmm..
Have posted a few paintings from this trip (plein air) on oil paintings page. Oh, it is titled "Lucky
Elephant on the Horizon and Nature Boy's got my Heart"
