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.

amish-y sexy

Hi all. After a week long struggle with a nasty chest cold, I'm kinda sorta halfway back in the studio. My energy level is around a 5, but I'm level 10 excited about my newest project.

I'm embarking on my third diptych which I'm calling 'Amish Sexy Diptych' in my mind but will actually probably be "Fig Tree Diptych". The inspiration image shown above is from the fabulous book "The Picture Man", edited by my friend and fellow artist Ann Hawthorne. Ann is a talented and much respected photographer who researched and then befriended NC itinerant photographer Paul Buchanan before his death. She obtained permission to reprint his beautiful photos from their original negatives and has put together a stunning book and several traveling exhibitions with the results. Mr. Buchanan traveled throughout rural North Carolina from the 1920's through the early '50s photographing locals for a little money or for barter. While they were not meant at the time to be art photos, their art is undeniable.

Anywho. I find this particular image wonderfully sensual. It's two embracing couples, but they're also posed in front of this mass of fig leaves, mimicing their entwined arms. I google image searched 'fig leaves' and all kinds of sexy stuff popped up...twisted branches and leaves, cut figs (ahem.), naked statue's covered up privates, and for some reason a bunch of ladies in lingerie. But these folks are dressed from head to toe, so 'amish sexy'.

If I can hold it together for a few more hours today, hopefully I'll have the progession of the right hand work for you tommorrow. I wonder why I always start with the right one?

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...

newly wed (couple a day #23)

I'm sorry I forgot about you guys yesterday. Genna and I left for Miami yesterday morning and you just slipped my mind! We've made it here safely and with little trouble thus far. Last night we slept at a Holiday Inn that smelled just like the inside of an ashtray. We finished our set up today just ahead of a crazy nasty storm...excellent timing!

That's not what I'm here to tell you, though, right? Tonight I am posting my last 'couple a day' painting. I thougnt it would be appropriate to make it the only wedding couple I've ever painted (and may ever paint) since it's the eve of Valentine's Eve. This piece is from our "Inspirations" show that just wrapped up at 16 Patton in Asheville. There is a lovely little story about the couple that I'll tell you when I get home and can look it up.

See the hidden heart?

Happy Valentine's Day, all.

"Newly Wed", oil on masonite, 10" x 8", $300
available from 16 Patton Gallery, Asheville NC

Emerging (couple a day #22)

Today's offering is another version of our "Emerging" image. This one is a biggun, though.

"Emerging", oil on linen, 36" x 48", $2200

We packed up the whole studio today to head to Miami for the Coconut Grove show. 61 pieces in tow! Wish us luck...

On the Lawn (couple a day #21)

This little one is another of my oft' visited images. I believe I've called it "On the Lawn" each time I've made it. What I'm drawn to here is the big silhouetted tree shape up top and the great little chair that is always executed by carving in the negative shape.

Very WASPy, no?

"On the Lawn", oil on linen, 10" x 8", $300
I apologize for the yucky photo quality, this is much tastier in person.

porch sit (couple a day #20)

OK, everybody. I'm going to have to fudge a little this week. I had a call last week from my Kansas City gallery, Prairiebrooke. They are planning to feature us at their February 19th open house and need some new work. So, I've laid my couples aside and gotten to work for them (I'm photographing what I made for them tomorrow or Wed., I'll share). Prairiebrooke is a fabulous, family owned gallery...if you live in the area stop by and see Mike, Brooke, and daughter Megan.

I'm posting a couple today anywho. This is a favorite of mine that was out at a gallery for a while and has recently come home. It's underpainting free but is instead painted on a little cherry wood laminate panel. We had some flooring left over from our recently renovated library/guest room and broke it down for small paintings.

I love the color of this wood as it works perfectly for shadowed skin tones. I don't love it as my library floor, though. I've told Genna we're going to have to rip it up and make 2,000 little paintings. He loved that idea (ha ha ha).

"Porch Sit", oil on cherry, framed in black, 7" x 6", $220

cliffside (couple a day #19)

Today's couple is another tiny one. I'm too tired to chat about it, so have a great weekend!

"Cliffside", oil on linen, 7" x 5", $200

azalea portrait & green thumb (couple a day #18)

Today's couple is actually another pair. This is a new format for me (5" x 7") and I am loving it. By the end of the day today I think I will have made twelve this week. We're trying a new frame as well...they'll be gallery wrapped oil on linen presented in a 'floating' black frame so that you see a little of the painted edges.

I'm calling them "Singletons" in my head because the shape and size work best for single figures. Yesterday I was fantasizing about a whole show of singletons, maybe 200 or so, in a beautiful, clean gallery space. I'll let you know if that actually happens.

Girly is "Azalea Portrait", oil on linen 7" x 5" $200
Fella is "Green Thumb", oil on linen, 7" x 5", $200 (sold)

buff & beachcomber (couple a day #17)

Today's couple is another 'two-fer', a pair of 7" x 5" canvases. These are mine alone with no Genna flavor. Seeing these gives me a really clear idea of what Genna brings to the table...these are more subtle and settled without the jazz of the vibrant underpainting. I must admit that they're far easier to make! I draw on the white canvas instead of over a patterned ground then wash the drawings with color that I know will work with the final overlay of paint. It almost feels like cheating not having to wrestle the underlayers into submission!

The guy is "Buff", oil on linen, 7" x 5", $200
The gal is "Beachcomber", oil on linen, 7" x 5", $200 (or $350 for the pair)

blending in (couple a day #16)

So, this is the piece I was telling you I was really excited about last week. You're underwhelmed aren't you? Perhaps I oversold it.

The good and the bad about pursuing the same basic style of work for an extended period is that (for me anyway) changes come slowly. I have lots of time to fully explore and expand upon the set of ideas and parameters I'm working with. Day to day I see little change in what I'm doing, but year to year I see lots. For that reason I get really excited when I'm able to recognize even a small shift in thinking in a new piece.

So what's different about this one, right? I'm not quite sure yet. I believe it has to do with the overall porousness of the edges of the forms. Working on an active, mid toned ground pushes me to use super high contrast shifts to delineate shapes. Here I think I've managed to define the figures and separate out the levels of space without 'screaming' them into place. Maybe more about that later as I organize my thoughts.

"Blending In", oil on masonite, 16" x 12", $375 (sold)
(I don't love this title and am open to suggestions)

striped newlyweds (couple a day #15)

There are two full work weeks left until Valentine's Day and I'm nearly 'coupled' out. Ten couples left to go. I have to say, though, that this has been an excellent exercise for me. It's gotten me into the habit of posting, my posting habits until now have been sporadic at best, but better than that, it makes me think more about my work. It's helpful to be forced into applying a little verbage to a purely visual medium now and again.

Any-who. Today's offering is "Striped Newlyweds". As with many of the couple paintings, the actual subject matter here is entirely static...a little upright pair of figures with a horizontal horizon and some rectangular architecture behind. All of the action here comes from the big patches of underpainting, serving as organically shaped swatches of cloud and ground. While all of the elements in the composition are fully articulated, the spice is in the many purely abstract moments allowed to blossom all around.

It looks like they're standing on a rainbow.

"Striped Newlyweds", oil on masonite, 16" x 12", $375

on the rails (couple a day #14)

Today was a terrible day for pictures, but I think you can get the idea. This is "On the Rails" (oil on linen, 10" x 8", $300 (sold)); a study of wedges, rectangles, and stripes on stripes.

I finished something yesterday that has me tingly all over...something new I think. I'll post it tomorrow or Monday but I want to think about it a little more first.

gentlemen farmers (couple a day #13)

Today's couple is "Gentlemen Farmers", lucky number 13. The posture of these two characters is what drew me to this composition...they're both sporting a very natty, casual attitude. My favorite thing, though, was the guy on the left's tie tucked into his overalls.

Genna's underpainting on this one is a subtle gem. Well, the color isn't so subtle, but when you get a good close look at it has an overall striping underneath the soft oil wash layer that unifies the whole surface. Click on it for a larger view and check out the right guy's hat brim and shirt and the bushy areas to the right and left of their boots.

"Gentlemen Farmers", oil on masonite, 16" x 12", $375

emerging (couple a day #12)

Today's couple is an image that is easily in my top five most visited compositions. Sometimes I call it a variation of "Emerging", sometimes "Native Azaleas". It's been as small as a postcard and as large as a barn door, vertical and horizontal, chaotic and staid, peaceful and frenetic. Today's is particularly perky and energetic.

The reason I visit this composition so much is it's an excellent vehicle for improvisation. The couple is a little visual anchor surrounded by space that can be shaped and colored any which way. I also love the thought that they're a naughty little couple caught emerging from the woods.

This one is "Emerging, Entergetic", oil on linen, 20" square, $600 (sold).

luminous poolside (couple a day #11)

OH NO! I forgot to post my daily couple yesterday. Pretend today is Monday.

This is "Luminous Poolside", oil on linen, 36" square, $1800 (sold). I love this woman. She is so fan-tas-tically shaped.

I'm running behind today, so tomorrow we're going to pretend it's Tuesday.