Printmaking again...

Detail: Collaborative print with Alexis Nutini

This post is an addendum to the one I posted last week. I had more thoughts about this collaboration that I wanted to share, so here goes: I'm in the midst of a print collaboration with master printer, Alexis Nutini, that is being generously funded by the Brandywine Workshop. What's happening here is we're moving into the second and middle layer. I'm trying all sorts of combinations of blocks and colors and offsetting the blocks on this layer to create some spatial interest. The third and final layer will play off of the first two. i'm hoping to capture some of the tension between layers that happens in my paintings and works on paper-the blurring of layers in some places and more distinct passages in others. 

It's been interesting working in a collaborative way after not doing so for most of my creative life. The one exception being a painting/drawing collaboration that I did with my friend, Joni Woods back in the 90s, which was an amazing experience. The current one with Alexis is turning out to be really good, as well. 

The biggest issue I've had to deal with is letting go of the spontaneity of how I usually work in favor of making instructions for Alexis to carry out in the printing. This isn't a bad thing, just way different than I'm used to operating. What I'm finding is that I'm needing to step back and be more intentional about what kinds of choices I'm making in the work. I'm taking longer to think about the possible outcomes before committing to which blocks to have Alexis use and where they are placed. Even so, there's still a ton of room for unforeseen and interesting unintended aesthetic incidents to occur: surprises in how some of the inks interact with each other, sudden changes in opaqueness and transparency depending on where your eye lands, as well as shifts in spatial rendering. 

Looking ahead, there will be a third layer to work with and this will be where everything comes together or falls apart, depending on the choices made. There's going to be some that I'll want the layers to overlap in such a way as to be indistinguishable overall and others with more 'breathing room'. We'll see what happens.

Matter. at Gray Contemporary

Honored to have Transmission VI on view in Matter. at Gray Contemporary (Houston, TX) until 8.01.20. 
Image:
Tim McFarlane
Transmission VI
acrylic on panel
8” x 6”
2016
(photo courtesy of Gray Contemporary)

Gray Contemporary

Matter.
6.27.20 - 8.1.20
Theresa Anderson, Mary Bucci McCoy, Amber Cobb, Deborah Dancy, Mel DeWees, Neil Fortune, Tommy Gregory, Sarah Elise Hall, Monique Lacy, Ernesto Marenco, Mary Bucci McCoy, Tim McFarlane, André Ramos-Woodard, Dave Swensen

*All gallery percentages of sales within this exhibition will be donated to Black Lives Matter Global Network.

A long history of neglected attention to another type of pandemic arose by the demonstrations of many brave young activists and concerned citizens in this country to the abuse and systematic racism that has plagued the American Black community. Through Black Lives Matter this inspirational movement has now spread worldwide.
Our current exhibition Matter is comprised of artists from different racial backgrounds joined together by the color black to show support for the Black Lives Matter movement along with all the protests worldwide. The works within this exhibition were not made specifically for this exhibition, but rather by their day to day studio practice. As this exhibition is less about individual perspectives and more about the unity of us individual artist’s coming together as one to support and stand against any form of racism or oppression. In show of support Gray Contemporary will donate all Gallery percentages of sale within this exhibition to Black Lives Matter Global Network. 

Comme

Wait, but also work

On Sunday, 7.05.20, I finally started a long-awaited print collaboration with master printer, Alexis Nutini of Philadelphia. We've been talking about working together on something since before I moved out of the 1241 Carpenter Street studio building, where I had a studio for a couple of years and where Alexis still maintains his. The idea is to produce a variable edition of block prints that will be released sometime this coming fall. 

I've learned that sometimes, there's definitely a right time, place and space for a lot of things. Not everything, because sometimes you have to take advantage of a situation or loose the opportunity. At other times, you have to let something sit and things marinate before the universe helps to open a door for you. In this case, as in a lot like this, there was a confluence of actions that conspired to make this collab happen. I met Allan Edmunds, the founder of the Brandywine Workshop and Archives, while working at Artist & Craftsman Supply last year. At the same time, Alexis happened to have been working on making prints as part of a program at Brandywine. Alexis and I started up with talk of a collaboration and in the meantime, I had the chance to talk with Allan again, trying to learn more about Brandywine. 

Fast forward to this year. Alexis talks to me about a possible print project that would be funded and supported by the Brandywine that would culminate with a two-person exhibition with myself and sculptor, Miguel Horn. Outside funding falls through for that project, but Alexis and myself move ahead with plans to make a variable edition of prints from my glyph forms, which is being supported by Brandywine. This is just one example of how things can take very circuitous routes to realization. Patience and perseverance wins the day, always. 

Website update: Daily/Observations

Above: ©Tim McFarlane: Daily/Observations: StopStop

Today, I continued with updates to my website by adding a new section called Daily/Observations. This section contains selections from an on-going photographic series I started in 2018 that documents interesting visual stimuli that I see every day on my walks around Philly. The city is a living thing, helped along in its evolution by all who live here, in big ways and small. I'm continually looking for what I consider interesting, mostly anonymous and interlaced histories that make up part of our public visual life: discarded clothes, drips of paint and plant material combine with yesterday's lunch leftovers on a newly paved concrete sidewalk with it's own system of angled lines and markings.

There's so much that captivates me that I constantly feel compelled to document it.There's always some combination of random things thrown together in unintentionally artistic ways that's hard to resist. The happy accidents of human existence. A lot of the energy of things and scenes I take note of in the streets finds its way into my work. I'm not attempting to capture what I see; only the essence, the energy that causes me to stop and pay attention.

Coping with Covid

Untitled, 2020, drawing/collage on paper, 30" x 22"

Studio view, May 2020

A few years ago, I had to move my studio into my apartment to keep my art practice sustainable. After some adjustments, I'm more comfortable working at home in a much smaller space. Just in time, it seems, because when the stay-at-home orders came, I was ready. With everything going on; the sicknesses, deaths and myriad socio-economic issues coming to the fore, the best thing I thought I could do was to continue with painting. It’s one of the main stabilizing forces for me.

Life right now is a difficult roller coaster ride. One day, I can work for hours at a time, the next, because of mental fatigue at everything happening at once, all I can do is have a nap, hang out with my cats and watch movies and videos. However, amid all of this, I’ve made new paintings, updated my website and dealt with with other admin tasks that I normally don’t feel that I have time for.

I also cherish those days when I’m not physically productive. The time to just think, daydream and contemplate has made living through the pandemic a bit easier. Another side affect is that quarantine orders came during the transition from winter to spring. Experiencing the renewal of nature gives me hope for renewal of life beyond (or with?) Covid-19.

Tim McFarlane-'Transmissions' at UArts September 7-30, 2016

I made a video walk-through of my show, Transmissions, on view now at UArts (Philly) through Sept. 30th. The work is best seen in person, and you still have a couple of weeks to get there!

Tim McFarlane
Transmissions
September 7-30, 2016

Gallery 817
Anderson Hall, 333 South Broad Street, 8th Floor
**Gallery Hours: Monday-Friday, 9am-4pm**

*All of the work in Transmissions is available for purchase. Please contact Bridgette Mayer at bmayer@bmayerart*

New solo exhibition-Transmissions at UArts (Philadelphia)

Tim McFarlane-Transmissions

 Transmissions features a selection of new paintings and works on paper from 2015-16.

Tim McFarlane
'Transmissions'

September 7-30, 2016 
Opening Reception on Wednesday, September 7th from 4-6pm.
Gallery 817, Anderson Hall, 8th Floor, University of the Arts, 333 South Broad Street, Philadelphia, PA

Transmissions was curated by Marcelino Stuhmer and Charles Browning of UArts.

Visit my website and click on the 'Paintings 2016' section to see images of recent paintings, some of which will be in Transmissions: TimMcFarlane.com

New studio/POST 2015

1241 Carpenter Street is the new address for my attempting alchemy.

My studio is now located at 1241 Carpenter Street, Philadelphia, PA 19147, #200. Come by and visit on Oct. 3rd or 4th during the first weekend of the Philadelphia Open Studio Tours and while you're here, stop by the studios of several other artists in the building, in addition to guest artists. I will have a selection of new and older works, plus possibly some new works in progress. Visit my POST artist page here: Tim McFarlane: POST

My building is also a stop on the Philadelphia Open Studio Trolley Tours, so if you or someone you know is interested in a guided tour of artist's studios that weekend, find more information here: http://philaopenstudios.org/post/guided-tours

If the trolley tours aren't your thing, and you aren't driving, my studio has plenty of public transportation options nearby, including the Broad Street Subway (Ellsworth/Federal stop), nearby bus routes including the 64 (east and west on Washington Ave.), 4 (north/south on Broad Street), 23 on 12th St. (south) and 11th St. (north).

Throwback: Stratum I (2007)

Stratum I, 2007, acrylic on canvas, 60" x 72"

This painting was first shown during my 2007 solo exhibition at the Philadelphia Art Alliance. 

Untitled Still No. 4 (gold)

Untitled Still No. 4 (gold)

Photo collage

New edit of a photo that I took last winter as part of a self portrait project. 

Moving the studio, pt. 1

For the past month, all I've been packing, packing, culling, packing, culling doing more packing and generally being overwhelmed with the amount of work that I have with me. That, and the fact that the new studio will be much smaller than my present one. Although I've gotten rid of some old work that I really didn't need to keep around any more, it feels like I've barely made a dent. It feels like I have way too much work with me.

I knew that this move was going to cause me to have to make some changes and adjust to a new reality and it's already happening. I'm going to have to re-evaluate my relationship to the amount of work that I make. I can't help myself most of the time, because, well, this is what I do. However,  seeing how much work I've made over the past thirteen years that I'll be moving puts things into perspective a bit. It seems like I need to slow down with the quantity of work that I make and find a way to sell more.

Change...

The time has come. After 13 good years here in Old City, I will be relocating my studio during the first week of August. Another entity in the building is expanding and I can't compete on price in that area, so I'm going. My landlord was nice enough to give me 8 months notice back in March (my lease officially ends at the end of December). I started looking around almost as soon as I found out. I just found a new work space yesterday. It's smaller than my present space and will require some very creative storage solutions because of the amount of work that I have with me. One upside is that my new studio will be only 2 blocks from my apartment, so that's a good thing. I've wanted to have a space really close to where I live for a while now, and thankfully my timing was really good. 

So, of course there are the expected mix of emotions: some sadness for having to leave such a good space that has been instrumental in helping me make some of my best work, so far. On the other hand, this move is a chance to shake things up a bit and make room for new things to happen. I feel like I was more ready for this to happen than I previously thought. I mean, the writing was on the wall, with all of the new construction of high-end condos going on at 3rd & Market, not even a half block away, I was going to have to move sooner or later. Thankfully, several things fell into place, including my landlord's generous notice and some funds becoming available to make relocating easier than it could have been. 

I'm still unsure about how I'm going to deal with the size of the space that I'm moving into, but I'm going to have to make it work. I've looked around a bit at a variety of potential studio spaces and having to re-enter the studio rental market after 13 years was a little tough in terms of how far my present budget will go. However, the convenience of being this close to home is a huge plus for me. The storage issue, however, is going to present some challenges. I'm working out something with my new landlord which is going to ease the problem, but I know that I'm gong to have to cull some much older work in order to make this new situation work without having to look at another monthly bill for storage on top of rent. I'm working on that issue and already have some potential solutions. Tomorrow, I'm going to begin the process of looking at everything that I have in the studio and determining what I want and what I should keep of the pre-2000 paintings. Then, I have to determine exactly what to do with works that are the weak links. I'm sure that I'll be destroying some things that I know I don't need to have around any more, as I have in the past. Culling artwork every so often is a good practice and it has helped me a lot in years gone by. It's time to get moving on to the next phase of my art life. 

Everything Happens At Once

Everything Happens At Once, 2013, acrylic on panel, 72" x 48" (diptych-two panels, 36" x 48" each)

A favorite of mine from 2013, shown here by itself and in an installation photo from my 2013 solo exhibition, Presence, at the Bridgette Mayer Gallery. On the left is Large Green Mirror, 2013, acrylic on panel, 48" x 36".

Summer Show at BMG

 A bit of promo that I made up for my works in the Summer Show (group exhibition) at the Bridgette Mayer Gallery. The show continues until August 29th and the gallery's summer hours are: Monday-Friday, 10am-6pm. 

60815bb

60815bb, 2015, iphone collage

Signal To Sound

Signal To Sound, 2015, acrylic on panel, 20" x 16"

One of five new paintings in the 2015 Summer Show at the Bridgette Mayer Gallery through August 29th. When you plan on visiting the exhibition, please note that the gallery has begun operating on its summer hours: Monday-Friday, 10am-6pm. 

TimMcFarlane.com

2015 Summer Show at BMG

I Don't Know What Happened, But..., 2015, acrylic on panel, 20" x 16"

This is one of five new paintings making their exhibition debut in the 2015 Summer Show at the Bridgette Mayer Gallery. I am showing these new works alongside that of other gallery artists. The opening reception is Friday, June 5th from 6-7:30pm. The Summer Show continues until August 29th, 2015. 

TimMcFarlane.com

Tim McFarlane on the maggy thump show ep. 24 / june 2, 2015 / visual aide

Hey, catch me on the next episode of the Maggy Thump Show! It goes live on Tuesday, June 2nd, around lunchtime...

Maggy's Rooftop Aerial
TimMcFarlane.com

Deer In The Headlights, 2013, acrylic on panel, 24" x 30"

Now on view in the Project Room at Gray Contemporary (Houston, TX)

TimMcFarlane.com

Throwback...

 September, 2013-posing with Pink Mirror (2012) at the Bridgette Mayer Gallery during my solo exhibition, Presence. 

Artist interview on 365Artists/365Days

There's a new interview with me published on 365Artists/365Days.com: Tim McFarlane-Philadelphia, PA

Untitled-2014

Untitled, 2014, acrylic on paper, 30 x 22 inches

On the studio wall 4.30.15

On the studio wall-new painting

20 x 16 inches,  acrylic on panel

Small Orange Mirror

Small Orange Mirror, 2013, acrylic on panel, 16 x 20 inches

SMO, one of my favorite paintings from 2013, has found a new home in Napa, California, thanks to Bridgette Mayer Art Advisors.

Art, business and exposure...

I became annoyed by a post on Tumblr this morning in which a young artist told her story of not having her work returned after a show at a tech firm. She was told that it was being 'rented' online at "GetUpArt.com", something that she had not agreed to as part of the original exhibition. She went on to say that while a couple of her works were returned, she was given some small sum for 'rentals' and then the money wasn't coming in at all. She didn't mention that she'd had the remaining works returned or not.

Then, I cam across a 'competition' sponsored by Asos.com, an online fashion outlet that caters mostly to 20-somethings, that has a call out for artists to design a t-shirt that and the winner would have their design printed. That was it, no compensation or other reciprocal value to the artists/illustrators was mentioned at all, other than the implied 'exposure' on the Asos brand t-shirt.

Issues such as these exist at every level and in almost every area of the creative arts, what I call the 'Exposure Trap': entering contests and competitions where there is next to no value for the artist. I'm not against ALL art-related competitions, I'm against the desperate mindset that they create in younger and sometimes, not- so-young artists. It's important to question these things and that's what I address in my post. The full text of my Tumblr entry is below:

THAT THING ABOUT BUSNIESSES, ARTISTS AND ‘EXPOSURE…

Not long after reposting and commenting on a post by Jenny Odell regarding her problems in dealing with GetArtUp.com, I see that Asos is calling on “Tumblr’s top artists and illustrators” to  enter their “awesome competition…”.

What do the artists and illustrators get? Well, “Your artwork will be a placement print, in the centre of the tee”. That’s it. No financial compensation of any kind from a company that makes millions in profits every year. 

“But they’ll get all sorts of EXPOSURE because we’re a top online fashion seller…”, they will inevitably say.

I say a company making millions can afford to pay the ‘winner’ of this competition at least a couple of hundred bucks for their time and work. Competitions of this sort are really disrespectful of artists’ talents and foster a mentality of being grateful for receiving next to nothing in return. 

If you’re going to enter contests like this, at least be really discerning about it. 

Take at least a few minutes to research the company/entity or individuals involved. Search to see if there have been any complaints about their contests in the past or to see if they are legit about their claims. 

Questions to think about:

- Is there compensation involved?

- If there isn’t, what else of value are they offering to the artist entrants, i.e., purchase of artwork, share of sales of merchandise featuring your artwork, etc…? 

- Will they post/tweet about the winner and link to the artist’s website (if they have one)?

- How much work and materials will I have to put into making the art for this? Ex: Is it going to take a couple of weeks  or more to work out an image that might get chosen to be on a t-shirt (or other item) that you’re not getting paid for?

Just food for thought…

Website Updated!

I spent a good chunk of yesterday updating my artist website and even managed to revise my artist statement without giving myself a headache, lol!

There are two new sections on my site: ‘Installation Photos’ and ‘Studio Visit’.

The Installation Photos section contains shots of my work in various exhibition and other spaces. Studio Visit has photos of my studio space and works in progress. It gives visitors to my site a curated glimpse inside the studio and see a little of my process if they don’t visit or aren’t aware of my social media outlets, which is where I post most of those documentation shots.  

Visit TimMcFarlane.com to see what’s new!

Endings = Beginnings

A couple of years ago, I felt like I was on the verge of having to move my studio because of renovations going on in the building. The renovations were going to be starting right as my lease was going to be up. Luckily, I was able to keep the space. However, this year will see a big change because I found out this week that my lease won't be renewed at the end of the year. The short version is one of simple economics (as usual): someone else in the building is expanding their business, there's no more space and there's no way that I can match or beat what they will be willing and able to pay.

The good part of this is that my landlord has given me an eight month notice (my lease is up at the end of December) and I can leave beforehand with no consequences. So there's time to save a little and hopefully find a suitable work space option.

When my landlord texted me last week wanting to set up a meeting, having to leave the space was on the list of possible topics in my mind. I've been mentally preparing myself for this for the past 13 years, so it's not such a shock. I'm surprised that I was able to stay in Old City this long, considering the gentrification that took hold before I even moved my studio there.

Anyway, endings make for beginnings, and I have no choice but to embrace this change, so may as well get to it...

Studio 4.01.15

Detail-work in progress on panel

Detail-work on paper

Call, response, dialogue

'Philadelphia Freedom' continues

A shot from 'Philadelphia Freedom', on view at the Philip Slein Gallery in St. Louis for one more week. This show features works by Philadelphia-based painters and includes work by Charles Burwell, myself, Steve Riedell, Rebecca Rutstein and Erik Spehn. 'Philadelphia Freedom' closes on March 28th. 

In the background is a painting by Rebecca Rutstein titled Caught in a Dream, 2012-13, acrylic on canvas, 60 x 60 inches. 

Foreground: Two of my paintings in the show: (left) Release, 2014, acrylic on panel, 30 x 24 inches

(right) An Adjustment of Means, 2013, acrylic on canvas, 48 x 60 inches

(photo courtesy of the Philip Slein Gallery)

Untitled (digital collage)

Untitled, 2015, digital collage/drawing

Studio Newsletter: February 2015

My latest studio newsletter is out.  This one contains news about a new group exhibition that I'm taking part in, a show that recently closed, and a look at one of my earliest paintings. if you like, you can subscribe to receive periodic newsletters (4-5 per year) : Tim McFarlane Studio Newsletter-February 2015

An Adjustment of Means, 2013, acrylic on canvas, 48 x 60 inches

I'm pleased to announce that I will have works included in an upcoming group exhibition at the Philip Slein Gallery, located in St. Louis, MO. Titled Philadelphia Freedom, this show features abstract painting from Philadelphia-based artists including myself, Charles Burwell, Steve Riedell, Rebecca Rutstein, and Erik Spehn. Philadelphia Freedom opens on Friday, February 27th and continues through March 28th, 2015.

Most of All

Most of All, 2014, acrylic on paper, 30 x 22 inches

For the month of December, I'm posting works on paper completed this year and some from previous years. Available through the Bridgette Mayer Gallery: bmayer@bridgettemayergallery.com or 215.413.8893

And, that's a wrap for 'Works on Paper December' and a wrap for 2014. Thanks for following along and for your support. All the best for a great 2015!

TimMcFarlane.com

Blind Angel

Blind Angel, 2014, acrylic on paper, 30 x 22 inches

For the month of December, I'm posting works on paper completed this year and some from previous years. Available through the Bridgette Mayer Gallery: bmayer@bridgettemayergallery.com or 215.413.8893

TimMcFarlane.com

Skip/Cut

Skip/Cut, 2014, acrylic on paper, 30 x 22 inches

For the month of December, I'm posting works on paper completed this year and some from previous years. Available through the Bridgette Mayer Gallery: bmayer@bridgettemayergallery.com or 215.413.8893

TimMcFarlane.com

Duro

Duro, 2012, mixed media/collage on paper, 38 x 50 inches

For the month of December, I'm posting works on paper completed this year and some from previous years. Available through the Bridgette Mayer Gallery: bmayer@bridgettemayergallery.com or 215.413.8893

TimMcFarlane.com

Untitled (2.27.12)

Untitled (2.27.12), 2012, acrylic on paper, 38 x 50 inches

For the month of December, I'm posting works on paper completed this year and some from previous years. Available through the Bridgette Mayer Gallery: bmayer@bridgettemayergallery.com or 215.413.8893

TimMcFarlane.com