New wanderings (isn't this a given, now?)

Two new works on paper, 38" x 50" each

    I finished these two new works on paper a couple of days ago. They're an effort at seeing how some of my newish ideas might work out on a larger scale as paintings. I'm feeling confident about how some of this is turning out. If these were already paintings, I would have made them denser with imagery and pushed some of the formal relationships further. There would be more layers, for sure. As they stand, I'm feeling good about the way things seem to be developing. I particularly like how the one with the overlapping blue fields turned out. I won't be able to reproduce it as a painting, but I'm hoping to retain some aspect of the warm colors filtering through the cooler colors on top, if I choose to make a painting out of this idea. I feel like I'm getting closer to a name for these hard-edged, yet flexible forms I'm using. I'm also doing some related research that I hope will help my tie together some conceptual ideas running around in my head. I'm heading towards a need to revamp my general artist statement and am trying to get enough information to formulate a more solid basis for this new direction. 

    Today started off with an early (for me) morning with jury duty. Of course I had too little sleep last night and have been a walking cloud of drowsiness all day. Anyway, I got to City Hall, went through the jury panel selection part, made it to a court room and was dismissed, thankfully. My jury summons had me reporting to City Hall instead of the Criminal Justice Building which almost always means that you're going to sit on a civil case, if chosen. I got lucky and had a high juror number, so the judge and lawyers in the case found their jurors well before my number would have been called. 

    So, I have my jury duty work "excuse" sheet. Since I work for myself, to whom do yell at for missing work time, even though I have a valid excuse? ;)

    Afterwards, I stopped by Artist & Craftsman Supply to pick up some canvas, gesso and a pack of six 9" x 12 panels. I'm in the middle of working on several small paintings begun earlier this week, but I'm thinking that this afternoon and evening will be a good time to stretch at least a couple of new larger canvases. 

TM

 

3.24.23.1

     Got to the studio around 10am this morning which, for me, is great. On average, I'm here much closer to 11 and after, so this is a good development. I've been trying to arrive here earlier in the mornings, but I tend to stay up too late and haven't been good about breaking that habit. Anyway, I'm here now and that's all that really matters. 

    I was on the bus and remembered that I wanted to stop and buy a couple of things to use for drawings, but realized it too late when I was on the bus. I was going to stop by Artist & Craftsman Supply at 3rd and Market and since they were close to opening, I may have been able to get in early. I might make a trip there later, anyway. I really don't *need* to go today, it can probably wait until tomorrow. The thing is, I have this idea locked in my head and have that urge to go and buy the things I want now, as opposed to waiting. Let's see how the rest of the morning goes.

TM

Looking, thinking, digging deep...

Contemplating a new painting

      I like to say that at a certain point in the painting process, watching me work is like watching paint dry. At first, there's usually a lot quickish choices being made about color, form and placement. Then, once I've gotten over the usually annoying mid point of making the painting, there's a slowing of mark making and much more contemplation of what's in front of me. I have a habit of looking at my paintings from all sorts of odd angles at times. One of the most unconscious positions is turning my head sideways instead of the painting. I was taught long ago that you should rotate your paintings to see how they are working from different directions. The classic move is to turn it upside down. This is used as one way to determine how the painting is holding together compositionally. The point is that there is a lot of thinking going on when we're sitting or standing in front of a work. Even when I'm not in front of it, like at home or some place other than the studio, the work is on my mind. I'm mulling over possibilities of changes or placement of forms as I'm walking down the street. I'm trying out all sorts of compositional possibilities when I'm in the shower. I'm considering which new materials I could use as I'm washing dishes. The work is never ending, but I also love it this way. 

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   Last week,  I found a couple of chairs in the hallway of the floor I'm on in the Crane Arts Building that someone didn't want any more. I took them in because they're softer and generally more comfortable than the hard molded plastic chairs I already have. They both have old thin leather covering the back and seat. The frames are made out of silver metal of some sort. I brought them into the studio, wiped them down and am enjoying having them. I still need to get a couch in there. Studio naps are essential not only to my well-being, but the well-being of the work. 

    Trying to push through sleepiness in the middle of the day or late afternoon is tough without a proper place to take a nap. I feel like a good hour to hour-and-a-half is a good period of time for a nap. They are so necessary for helping to keep my mind clear during the day. Taking time to nap is so beneficial for thinking. Art is really taxing mentally and physically sometimes. It's best to try and keep your mind sharp so that you don't go about making bad choices in the work. Well, bad choices happen regardless of napping or not, but the likelihood of them increasing is greater without resting a little during the day. 

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    I watched a "behind the scenes" video with Tom Cruise that's the beginning of the hype machine for the next installment of the "Mission Impossible" franchise. This one was interesting to see because it shows how much of a committed actor TC is. He is known for doing a lot of his own stunts and this video showed just how deep that commitment is. One of the big stunts is him riding a motocross bike off of a huge ramp, off the side of a cliff and then parachuting down into a ravine that's closed in on three sides with rock face. He trained on riding the motocross bike, practicing the jump, learning to parachute from a helicopter and even more than that. He did all of that and did those actions over and over and over again to get everything as right as possible to make an action sequence as believable as possible. Seeing that kind of dedication to honing just one part of his craft made me think about how much we as artists need to make sure that we're doing all that we can to keep ourselves educated, doing research and pouring as much as we can into the work that we do. Being persistent, consistent and risk-taking with your work habits in the studio and digging deep within to make the best work possible will pay off. Show up for yourself!

TM