long tall drive, in process

After a tricky week in the studio (I'm not going to show you what I made as I don't want to prejudice anyone against my 'problem children'), I think I'm finally on a roll again. I haven't done a post showing the stages of a painting recently, so I decided I would today. Then I forgot what I was doing...so the first half of the piece wasn't documented.

Oh well! Here is "Long Tall Drive", 60" x 36":







I'll post a better photo of it was soon as we have a day with good light.

Have a great day, everybody!

ordering chaos

After leaving nearly my entire inventory of work at Bennett Galleries a month ago, I've been double-timing it in the studio. This is fairly standard practise for me as we are on the road in 'seasons' where I might not hold a paintbrush for months. It's always exciting to see what happens after a solid three or four weeks at the easel. I think I passed my 10,000 hour mark (Outliers, anybody?) a few years back and since then haven't felt like I was starting over each time I've been away, but it still takes me that month or so of intensive work to reach what feels like a new step in development.

All that to say that I've stepped into something new in the last few work days. I'm finding myself drawn to increasingly complex images, many of which include machinery (which I've never liked working with before). I'm employing a gridding system in order to get the most accurate possible drawing before beginning the paintings. Like this...



Here's that finished piece:



What's exciting me most about this is the challenge of creating a cohesive structure with many elements atop Genna's chaotic, free form underpaintings that still has a solid composition.

Wonder what's coming next week?!

(top image: "Smithy Fishers", oil on linen, 36" x 48", $2200
bottom image: "New Truck", oil on linen, 36" x 36", $1800)

new neutrals

I know its hard to tease out from our work what is mine and what is Genna's, but if you can you realize quite quickly that my palette is actually quite restrained. Most of the cacophony of color in our pieces emanates out from the underpainting.

In a few of our newest pieces, I am employing an almost completely neutral over painting. For example, here is our new "Upright Tarpon" (48" x 24"), finished day before yesterday:


If you look closely, my layer is almost entirely grey, black, tan, and taupe.

Another new one from this week (Boy Line, Bike Tangle, 48" x 36") sports a brand new color that I don't think I've ever touched before...a soft, peat-y, bunny rabbit brown that I think everyone will be seeing more of:



Have a beautiful day everybody!

back in the saddle

Finally...finally today I had the stamina to get in a full day of painting. I don't know how long this is for other artists, but for me its around four hours. That sounds kind of wimpy when I say it out loud, don't tell my parents.

So, I'm pleased to report that I was able to reconnoiter my 'fig tree confidential' diptych to my satisfaction. As I mentioned in my last post, I thought I was finished with the diptych on Friday but was not happy with the results.

The layering process that Genna and I use doesn't allow for a lot of 'adjustments'. If I lay down an image and it doesn't work, I generally have to re-gesso the canvas and start over. Foggy as I was, I didn't think to photograph my 'disappointment diptych', so here's the verbal gist: I booh-boohed the composition by making up a bunch of shapes in the left hand piece to mirror the forms in the right hand corner of the right hand panel. It was super boring. The beauty of the inspiration photo was in the dramatic amorphous mass of leaves behind the couples.

I considered scrapping the left hand panel altogether and finishing off the right one as an independent work, but Genna suggested 're-underpainting' the background of the left piece and going again. So that's what I did. Here it is re-underpainted,

And here it is completely finished:

I hope I've done Mr. Buchanan's original image justice. My homage is "Fig Tree Diptych", two panels each 36" square oil on linen framed in black, $3500.

fig tree confidential, panel 2

I went to the doctor yesterday for the first time in about 12 years. It was nearly as fun as I remembered. They gave me a steroid shot and a z-pack scrip (which seems to be the treatment for just about everything anymore) and today I would say I'm back up to about 60% of myself. Such a relief after wandering around at about a 30 for a week!

But enough about me, you're here for the 'amish sexy' diptych update, right?

Here are the two underpainted panels, each 36" square linen:



That right hand panel is actually an "underpainting's underpainting". It's the acrylic wash step before Genna adds the oil wash layer. I liked it so much at this stage I snuck in and took it from his studio before he could take it any further.

Here if you click it and look closely I think you can see the drawing:



And then here is the progression of the right hand panel:








I actually finished the left hand panel today, put them together, and said 'bummer'. I think I have the solution figured out but don't want to show you until I fix it! Maybe Monday.

reconcilliation

Here we are with the unified diptych. Yay! The process of bringing the two images together consisted of 2 days of wandering around the studio staring at them and maybe an hour of actually working on the canvases. I've posted the 90% finished works paired together below so that you can see the differences.

Basically, I simplied some of the shapes in the left hand bushes, carried a little of the buttery yellow over to the right hand piece and brightened the lower right shape on the right hand piece to help 'hold up' that side of the composition.


I'm tickeled with how this came out. I think it shares the spirit of the first "Main Street Diptych" while bringing its own new goodies to the table.

I forgot to mention the original inspiration for this work, which will hopefully become a new series. In collecting old pics, I often run across sets that are obviously taken one right after the other (a daughter holds the camera to shoot Mom and Dad, then Mom does the same for father and daughter). I love studying these little pairs and seeing how much the overall flow, rhythm, and spirit of a scene can change from one moment to the next. This set (image posted below) had a shift in perspective from one to the other. It's also sort of like those picture puzzles in kid's magazines where you have to find the 12 things that are different. I love that.

I know I'm talking too much and most of you have already given up, but one more quick thing...my client related reading these posts to watching a surrogate carrying her soon to be born twins. Isn't that the best?

diptych left

So, here is the progression of the left hand panel of the new diptych. For those of you who have no idea what I'm talking about, see Saturday's post!

Today I will be 'reconcilling' the two works into their final, paired composition. Look out for the finished project Wednesday at the latest.










"Main Street Dipytch" panel one, 90% complete.

diptych dos

A lovely prospective client that met us at Brookside in Kansas City has asked that we revisit our image "301 Main Street Diptych" (shown above). I was delighted to do so as this was one of my very favorite 2009 works.

The challenge in this piece was to make a piece in two parts where each part could stand alone as a painting but together make one cohesive work. Also, I began with two extremely different underpaintings...different both in palette and in orientation. The one on the right was horizontally striped and the one on the left was vertically striped. Each piece was brought individually to 90% completion. Then they were hung together to finish the final 10% of the process, developing rhythms and harmonies and between the two. Voila.

What I like about these two as a diptych is the way the composition in the left hand painting funnels down into the right hand painting. The brick walk on the left mates up the curb on the right, creating one strong horizontal line that travels through both.

I'm documenting the building of the new piece here, probably in two or three posts as it developes. I'm beginning with the right hand panel.

Here are the two pieces drawn out and just begun:





And here is the progression of the right hand panel from beginning to 95ish% completed. (If I was more clever I could have presented it as a little slideshow...but I'm not.) ((Also, please forgive the photo quality as I shot these indoors right on the easle.)):










Stay tuned...

boys of summer on the easel

Hi guys! I'm on a 'couple' break for the weekend but still in the studio. Before I left yesterday, I began a new version of my grandpa and his navy buddies on the beach. It's a big one, 48" x 60", with a beautiful 'sunset striped' underpainting courtesy of Genna. Here's what it looked like this morning:



I like to paint the lightest lights and darkest darks first thing so that I can see the overall composition through all of the screaming underpainting. My first thought when I looked at this this morning (which actually was more like noonish!) was that I loved that stuttering blue stripe running through the center of the figures and wanted to hold onto that if possible. To play that up, I painted in a similar blue between the bottoms of their legs:



After separating their figures with some changes in skin tone and filling in the shirt and towel shape, I believe I'm about 95% finished:



I'll post the properly photographed finished piece on the website next week. I'm tempted to call this "Smokin' on the Beach" as they're all hot and holding cigarettes, but cutesy titles make my skin itch. So, she's either "Boys of Summer" or "Sunset Quintet Redux". Probably "Boys of Summer".

pete and repeat

Lest you think all I'm doing is putting pots in boxes all day (this is almost true), I offer you my latest..."Pete and Repeat Class Portrait".

This is only the fourth or fifth time I've worked with the basic idea of yearbook picture contact sheets and it still holds alot of mystery for me, which is awesome. I don't know about any of my full time artist fellows, but for me it's easy to feel the bloom is off the rose when I feel 100% confident and comfortable about what I'm making.

This image was made by transfering individual portraits from a 1950's yearbook and then flipping them and using each portrait again (henceforth the pete and repeat title). When the time came to apply paint, I made no effort to match the pairs or make them unique but instead let each unit speak individually. I love that each character has his or her own essence and personality even without any facial features. My favorites are actually some of the units that are silouhettes only.

The exciting thing about this idea for me is making something dynamic and rhythmic that basically repeats the same basic form over and over. The palette I used was also quite narrow, relying on Genna's underpainting color for variety.

Here's a detail:



If you want to see a larger file of "Pete and Repeat", I'll be posting it on the website tomorrow along with a dozen or so other new pieces.

Headed for Houston next week. I think Genna will be thrilled to be driving the car instead of making pots 13 hours a day. Everything's relative, huh!