I have been getting some (not enough) painting done in my new digs, but I really have not yet found the right spot to photograph work.
It is a struggle to get the colors to read right.
I am also questioning if it is time for me to consciously lay this blog to rest.
I've been ignoring it like a houseplant that you secretly wish would die. Tell me I'm not the only person who has ever done that! Anyway, to do a blog well does take a fair amount of time, and I'm not sure if the rewards are still there for me.
Take the Path By the Big Tree
oil on canvas
Well. That was a long five weeks!
This is one of the few paintings I made in this otherwise busy summer.
Frankly, it is a tad garish and I don't think too many people like it, but I do and apparently Elizabeth Geller from the deCordova Museum liked it enough to include it in the Post Road Landscape Show.
In the same show is an innovative and mesmerizingly beautiful piece by my friend, Mark Spencer.
He has created a digitally generated video that evokes a sense of landscape without being explicit about location. It is magic.
Show opens Saturday, Sept. 7th, 2013 3:00-5:30 p.m.
1 Boston Post Road East, Marlborough, MA
show closes Sept. 25th
P.s.: You've gotta click on the image to the feel of it.... it has gobs of yummy paint!
See you back here in a little while; probably something like 5 weeks.
There are a lot of changes, good and happy changes, swirling around for me right now, so I need to direct my energies towards that.
Please do check back with Room E Studio later this summer!
The Afterlife of Clouds
acrylic on canvas
Historically, diptychs were two equal, hinged panels most frequently for Christian imagery.
Royalty sometimes had portraits of husband and wife painted in this manner.
In contemporary art, the hinge has become optional, and the panels are not always the same size.
What they share with their predecessors is that while there is a thematic and visual relationship, each panel can stand on its own as a painting.
In other words, putting two canvases next to each other and painting one big painting on them does not automatically make a diptych.
This was my first try at this format. It was a good challenge!
March Wind Across the Hills
oil on canvas
This piece is about transition and movement.
The hills of Central Massachusetts in March are lit by the much stronger spring sunlight, animated by the still chilly and wild North wind, and colored by dry grasses, patches of lingering snow, and low areas of rich mud.
Green growth has not yet begun to push, but you know it is there, just below the surface.
In a few warm days the whole scene changes, like when The Wizard of Oz goes to color.
So, yes, it is a landscape, but really, it is a lifescape: transition and movement.
The GALA (Gardner Area League of Artists) show in Gardner is coming to a close in a couple hours.
There was a lot of great work this time around, and no blackout!
The judges were Karen Hass, curator at the Boston Museum of Fine Arts, Greg Heins, fine art photographer, and head of the photography studios at Boston Museum of Fine Arts, and C.M. Judge,
intermedia artist based in Fitchburg, MA.
I walked away with an embarrassment of ribbons, including best in show for this painting.
Invariably, people ask me why it is "up side down". I always stumble with the answer.
It is just how the painting asked to be painted, which while true, sounds like mystical mumbo-jumbo.
Last night it came to me: countless people have been crucified or otherwise tortured and put to death over time, but regardless of our beliefs, we have to admit that the crucifixion of Jesus turned the world up side down; changing forever the course of human history.
Pictures from the show will be forthcoming on the GALA website. and Facebook page.
This Saturday, March 16th, is the opening for Massachusetts Artists 2013 Biennial at the Brush Gallery in Lowell, MA.
All three of my submissions were accepted by juror Dina Deitsch, curator of contemporary art at DeCordova Sculpture Park and Museum. She chose only 34 pieces from the nearly 200 submitted.
I am honored and excited!
As for the piece above: hot off the presses! Well, actually no presses involved, although there were some printmaking techniques used.
This came out of a terrific workshop I attended last weekend in Holyoke. Taught by Dean Nimmer (of Art from Intuition fame), we explored monotype printmaking, printing over painted surfaces and drawing into prints.
I came away energized and with a mess of prints that I am looking forward to working with.
I can honestly say that Homer's Odyssey remains one of my favorite sagas.
Penelope is generally interpreted as a paragon of fidelity and domesticity, but I love her for her cunning ability to protect herself, even as a person with few rights and little power.
As you may recall, she buys some time by promising to choose one of the many unwelcome suitors who have descended upon her home to be her new husband as soon as she finishes weaving a shroud for her father-in -law.
Every day she works at her loom, and every night she secretly slips back and undoes her day's progress.
She does this for three years before they figure out what she has ben up to.
I find something powerful and poetic about that concept of weaving and unweaving the same thing for day after day to preserve yourself.
Today I Am Almost Scared How Fine I Almost Feel
It is a spring evening in 1989 and I am walking down a street in Santa Monica, California.
Blowing down the same street are gobs of papers, partial notebooks, blue exam books, like the contents of a school knapsack emptied at the bus stop by the bully.
I start scooping them up. I don't know, maybe I thought I was retrieving them for their owner, but there was no one, distraught, running after them.
As it turned out, they were fragments of someone's journal, bits and pieces of anguish spanning a decade.
I do not use the word anguish here lightly.
Contained, barely contained in the scrawl and rambles was a story of such darkness and repeated efforts to crawl out from under unbearable despair.
I do not know who the author is, but she seemed as thrown away and blown away as her papers, and so, I saved them.
Every so often I would pull them out, read some of them over, and then put them away again. They were just so dark.
But I have kept them, nearly 25 years now, because I felt there had to be something I could do with them.
And I didn't want to give up on her.
I think I am now ready to give them new life.
This painting came out from a page she wrote in 1978. An up day.
Late in December a few of us got together and painted this homey scene of a young man reading.
I wasn't sure I was going to enjoy this sort of domestic scene, but I found that if you love the material of paint enough, the subject matter doesn't matter so much.
The result was more successful than I imagined it would be.