Acrylic on board, 23" x 23", 2011
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Monday, March 21, 2011
Sunday, March 20, 2011
Saturday, March 12, 2011
Volkan
Acrylic on 4 sheets paper, each sheet 13" x 11", 2011
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I've been playing with manipulating the paint using trowels and scraping tools. Each piece is done independently, then later I start putting them in arrangements like this. The search is for a visual narrative--a point where each segment starts rhythmically "speaking" to the others.
I plan to mount these sheets on cradled supports and then varnish, so they won't require framing under glass.
Forecast (Heaven and Earth)
Oil on canvas, 54" x 96", 2011
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This large painting in the Heaven and Earth series was begun in early December 2010. The painting process was documented with a photo after each day's work. When I thought the painting was complete, I made a video. Later I decided it needed more work, so I ended up making a second video. As you see below, there are now three videos. I'm still not sure I'm through with it, or--more accurately--whether it's through with me.
Heaven and Earth
Charcoal on paper, eight sheets arranged in vertical pairs
Each pair approx. 44" x 26"
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Detail, #1
Detail, #3
Currents (Heaven and Earth)
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Charcoal on paper, 4 sheets, each sheet 22" x 30", 2011
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Charcoal on paper, 4 sheets, each sheet 22" x 30", 2011
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Various works from Heaven and Earth Series
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Three Views on a Fresh Day
Graphite, charcoal and acrylic on paper, 9" x 15.5", 2010
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Depart/Return
Charcoal and pencil on paper, 22" x 30", 2011
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Getting Late
Charcoal and watercolor on paper, 9" x 7.5", 2010
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A Passing Storm
Charcoal and watercolor on paper, 7.5" x 16"
Collection Whitman College
The Peaks
Graphite, charcoal and watercolor on paper, 9" x 20.5", 2010
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Graphite, charcoal and acrylic on paper, 9" x 15.5", 2010
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Rising (Heaven and Earth)
Charcoal and acrylic on two joined sheets paper, 22" x 60", 2010
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A few days after my mother passed away in 2009, I shot some video of clouds rolling over the top of Craig Mountain. I began some charcoal drawings loosely based on the video. As the cloud drawings developed it seemed in my mind they were linked to the stones that I had already been working with. I began experimenting with combinations, and this piece is one of the results. I called the resulting series "Heaven and Earth."
Three Stones (Lucky Dog)
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Three Stones (Lucky Dog)
Oil on board, 3 panels, each panel 23" x 23", 2009
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Three Stones (Lucky Dog)
Oil on board, 3 panels, each panel 23" x 23", 2009
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Four Stones (Higher Ground)
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Detail, Four Stones (Higher Ground)
Oil on board, 23" x 23"
Four Stones (Higher Ground)
Oil on board, 4 panels, each panel 23" x 23", 2009
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Four Stones (Higher Ground) Studio view
Detail, Four Stones (Higher Ground)
Oil on board, 23" x 23"
Detail, Four Stones (Higher Ground)
Oil on board, 23" x 23"
Detail, Four Stones (Higher Ground)
Oil on board, 23" x 23"
Nine Stones
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Nine Stones (detail from Progression 3)
Oil on board, 23" x 23"
This series is intended as a single work, composed of nine separate panels. They are displayed in three groupings, or "progressions", with 11" spacing between panels.
The piece had a pretty prosaic beginning. It grew out of my becoming aware of boulders that had been placed around the edge of a small gravel parking lot out at Ladd Marsh, near my home. Their repetition and regular spacing appealed to me--I had done paintings in the past using multiple panels and repeated images. Their visual narratives always seemed to me to be reflections on the nature of time and states of change.
I got to thinking about these common rocks, and how uncommon they really are. Native American and other indigenous peoples around the world think of the entire earth as a living organism, while the history of our modern culture has been one of separating humans from nature. It occurred to me that the only reason we think of a rock as inanimate is because its lifespan is unimaginably longer than our own. Suddenly I could sense the "life" in these stones, as a vital part of the living earth.
In the paintings, it seemed important to stay true to their individual shapes--after all, these are "portraits." It may seem silly, but it's even important to me that they are displayed in the order I've placed them, which is their actual relationship at the Marsh. But I've tried to paint them in a way that is less literal, in hopes of expressing the living energy I sense in them. My hope was to somehow ground them in observed reality, while at the same time implying a larger reality beyond our comprehension.
Nine Stones (Progression 1)
Oil on board, 2 panels, each panel 23" x 23", 2009
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Nine Stones (Progression 2)
Oil on board, 3 panels, each panel 23" x 23", 2009
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Nine Stones (Progression 3)
Oil on board, 4 panels, each panel 23" x 23"
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Nine Stones (detail from Progression 1)
Oil on board, 23" x 23"
Nine Stones (detail from Progression 2)
Oil on board, 23" x 23"
Nine Stones (detail from Progression 3)
Oil on board, 23" x 23"
Nine Stones (detail from Progression 3)
Oil on board, 23" x 23"
This series is intended as a single work, composed of nine separate panels. They are displayed in three groupings, or "progressions", with 11" spacing between panels.
The piece had a pretty prosaic beginning. It grew out of my becoming aware of boulders that had been placed around the edge of a small gravel parking lot out at Ladd Marsh, near my home. Their repetition and regular spacing appealed to me--I had done paintings in the past using multiple panels and repeated images. Their visual narratives always seemed to me to be reflections on the nature of time and states of change.
I got to thinking about these common rocks, and how uncommon they really are. Native American and other indigenous peoples around the world think of the entire earth as a living organism, while the history of our modern culture has been one of separating humans from nature. It occurred to me that the only reason we think of a rock as inanimate is because its lifespan is unimaginably longer than our own. Suddenly I could sense the "life" in these stones, as a vital part of the living earth.
In the paintings, it seemed important to stay true to their individual shapes--after all, these are "portraits." It may seem silly, but it's even important to me that they are displayed in the order I've placed them, which is their actual relationship at the Marsh. But I've tried to paint them in a way that is less literal, in hopes of expressing the living energy I sense in them. My hope was to somehow ground them in observed reality, while at the same time implying a larger reality beyond our comprehension.
Friday, March 11, 2011
Game Series, 2003-2007
A series that grew out of the simplest of games. I enjoyed using the grid structure and X/O's as a starting point that I could then play around with in many different ways--exploring the notion of freedom within self-imposed constraints.
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Colorful Night (Game)
Acrylic on museum board, 13" x 11.5", 2003
Private collection
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Pendant (Game)
Acrylic on museum board, 13" x 11.5"
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Shapescape (Game)
Acrylic on museum board, 13" x 11.5", 2003
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Forest Camp (Game)
Acrylic on board, 28" x 30"
Private collection
Willem (Game)
Acrylic on museum board, 13" x 9.5", 2007
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Growth Plan (Game)
Acrylic on museum board, 13.5" x 12"
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YGB (Game)
Acrylic on museum board, 12.5" x 11", 2007
Colorful Night (Game)
Acrylic on museum board, 13" x 11.5", 2003
Private collection
Misc. Works, 1995-2007
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Tricky Combo 3
Edge of Paradise
Oil on canvas, 60" x 78"
Private Collection
Just Released
Acrylic on canvas, 12" x 12"
Private Collection
Tight Scrape
Acrylic on canvas, 12" x 12"
Private collection
Jasper in Beadland
Charcoal, solvent transfer and collage on paper,
18" x 14", 2001
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Tricky Combo 1
Acrylic on paper, 17.5" x 17.5", 1997
Private collection
Tricky Combo 3
Acrylic on paper, 17.5" x 17.5", 1997
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Heads, 1993-1999
Some are imaginary. Some are loosely derived from Civil War era photographs or old master paintings. Click images to enlarge.
Young Poet 1
Charcoal on paper, 24" x 18", 1999
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Smiling John Brown
Oil on gessoed paper, 30" x 20"
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Young Woman
charcoal and pencil on paper, 24" x 18", 1999
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Union Officer 1
Charcoal and oil on paper, 32" x 20", 1999
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Confederate Officer 1
Charcoal and oil on paper, 32" x 20", 1999
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Frederick Douglass
Charcoal and oil on paper, 40" x 32", 1999
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General 1
Charcoal, pencil and oil on paper, 40" x 32"
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Slave 1
Oil on canvas, 16" x 12", 1999
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Daydreamer
Acrylic on laminated paper, 18" x 16.5" x 1.5", 1992
Private Collection
Fairly Young Frank
Acrylic on laminated paper, 20.25" x 17" x 1.5", 1992
Private Collection
Leonardo's Lady
Acrylic on laminated paper, 20.5" x 19" x 1.5", 1993
Private Collection
The Stray Ermine
Acrylic on laminated paper, 18" x 29.5" x 1.5", 1993
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