Tuesday, December 23, 2008

Wednesday, December 17, 2008

Wednesday, December 3, 2008

Pencil study for "Mrs. Soloway"

Artist Reception & Lecture

I will be hanging a show of 44 works of my art at the Art Institute of Tucson November 4 - January 12, 2009.

Here's the info regarding the events:

Artist's Reception (RSVP requested)
Thursday, December 4, 5:30-7:30 pm

Artist's Talk & Presentation (Open to the public)
Friday, December 5, 10:30 am-12:00 pm

The Art Institute of Tucson
5099 E. Grant Rd., Suite 100
Tucson, AZ 85712
866.690.8850 520.318.2700

Tuesday, October 28, 2008

Painting demo of "Oldtime singer"

Here's a small painting demonstration I did for a student, oil on wood, 8 x 12 inches. My reference was a picture of an old black and white photo. What I wanted to demonstrate was how quickly and loose I can establish a painting while making-up color from the black and white photo. I wanted the student to begin seeing color as a personal decision that each artist decides for him/herself. As you develop your voice as an artist, so will you develop your voice for color. I first covered the panel with a cool blue-ish mid tone. I then blocked-in my dark shapes, then continued on to the mid tones and highlights. The whole time I wasn't trying to nail a certain color. In fact, I almost pretented to be color blind. I approached it more as something I was looking at in terms of cools and warms-- cool colors vs. warm colors. In fact, I really didn't pay too much attention to the color I was mixing. I was mostly concerned about, "Is it a cool color or is it a warm color?"

Painting of University of Arizona church, "Desert Day Moon"

I did this painting on sight on the University of Arizona campus. I set up my French easel on the sidewalk and caught the last hours of the day. It's a good example of a painting that didn't make it's way to the finished stages. I decided the unfinished look of this painting was its strength. By stopping at this stage, it also reveals my process of how I approached this painting. I started with toning the wood panel using a warm brown with some turps, letting it dry slightly, then wiping it off with a rag, leaving behind an overall tone as seen in the final piece. I then began establishing the drawing with paint and a brush directly on the panel, blocking in the shadow shapes. Though, I haven't a coined process when beginning a painting, I did choose this technique because I new it was fast and I didn't have a lot of time before the sun went down. The only thing I did when I returned to my studio was to add the moon in the background. I did this by lifting out of the toned background with turpentine. The moon was originally there, just on the right of the bell tower. I took the liberty of swapping it over to the left to create a stronger composition.
It's a good example of knowing when you are finished and walking away from it. You should be able to have a finished piece of art at almost any stage in the process. It's something to keep in mind when you are painting or drawing. The finished art may not always be what you had premeditated. Open up opportunities for chance or unexpected pleasantries, or what Bob Ross refers to as "happy mistakes." This idea goes beyond just simply managing your mistakes, or correcting them. Even more, you are now orchestrating them. It will give you a more profound appreciation for your process.

Thursday, October 2, 2008

Drawing of One-North-Fifth

This is the intersection of Congress St. and 5th Ave., downtown Tucson. Commissioned by Peachtree properties. It is a pencil drawing of the building before it was completed. Another will follow after the completion of the rather large project. The second of the series may even be a finished oil painting, but is sure to show a lot more life and activity as far as cars, buses, birds, pedestrian traffic, etc.

Painting adventure on Congress.

We took over some parking spaces and set up.

Monday, September 29, 2008

Concept rough for "Virtutem"

Here's a concept rough for the painting, "Virtutem." Stayed tuned... I'll be posting the original finished oil painting as soon as I get it back from the galleries. The concept is derived from the famous 60's statement, "the flower in the muzzle." Except, my main idea here isn't necessarily a statement of peace. The flower chosen is a daisy and it is known as being a symbol of virtue. Its meaning explains the statement, "You have as many virtues as this plant has pedals." This explains the act of plucking a flower's pedals, "He loves me... he loves me not..." The state-of-the-art Berretta handgun (92 FS Ion) resembles modern warfare. The two put together is a metaphor for "choice". Is what of question a matter of choice? Or, is it a matter of destiny? Or, maybe virtue itself is a preponderance of power within human nature.

Tuesday, September 16, 2008

This is a painting of the well-known artist, Mauricio Toussaint. 18x24 inches, oil on canvas mounted on panel. The artist's requests for this commission were that I keep the size relatively small and to leave enough canvas area around the portrait so it may be trimmed to size, if desired. After meeting the artist, I got a feel that he was a spiritual being and that he was closely connected to his own art. I wanted to get this across in the portrait. Rather than having just a static portrait of the person, I wanted to introduce a bit of esoterics and integrate the artists own artwork into the painting. The elements surounding the figure are elements from various paintings by Mauricio. The lighting and the text integrated help give it a spiritual feel. The text is Greek for, "true to thyself". I chose these words because I felt the look of his painting was raw and honest to himself. I admire when an artist has the ability to filter as little as possible the ideas that come through his or her being.