Saturday, December 19, 2009

IEA Retreat:2 months later

The International Encaustic Artist's held their 4th annual retreat in October, I went and had 4 days filled with art, talk, technique, theory, friendship and of course inspiration. One of the many quest speakers was Tony Scherman, a Painter from Canada who spoke very honestly about his life and work and set the tone for the workshop with his theory's (still digesting some of them). It made me think about painting in a new way, it shook me up in terms of my current work. I was changed, needing more and more to push the envelope and move to the edge where only the brush leads me, not just the camera. This is the encaustic version of one of the images posted on 11/17/09.

Friday, December 11, 2009

Warbler of Hope

January is usually the time I have a full blown "crisis of subject matter". This year I'm being proactive and starting a new series now, not really new, just more focused: Birds, birds in the landscape, maybe birds in flight, birds on bare January branches, easy to spot! A longer lens was a must and it's so fun. I was so happy to read Joanne Mattera's blog on Art Miami: Are We Out of the Woods? So much tree art out there (was always my favorite subject matter).

Wednesday, December 2, 2009

New Blurb Book: How To Make A Gorgeous Photo Book

Put this book on your wish list!!! Myself and a number of other familiar artists featured on this blog are contributors.

Tuesday, November 17, 2009

Noon and Dusk

Recent photo-shoot revelations:
Sometimes it takes 300 plus frames to get the one you really, really, really like.
Focus, or the lack of is everything.
Noon and five hours latter yield a completely different image.
Always check your ISO before filling that first memory card.
No preconceived ideas make life easier.

Thursday, November 12, 2009

The Nest Series, Sharon Beals

Sharon and I meet officially on a canoe trip years ago, and we both realized we knew each other through both of our various Chronicle book projects. She has been working on the nest series since the early part of 2007. Sharon has shown this work in print sizes up to 42x42 and the clarity and detail at that size is other worldly, she uses a variety of medium format digital cameras. Chronicle Books of San Francisco is publishing a book of this work, due out in Spring 2011.

"These photographs are the culmination of a trajectory that began after reading Living on the Wind by Scott Wiedensal. Interwoven amongst his essays about the amazing feat of bird migration is a call for habitat preservation and restoration; a subject that I have directed my lenses toward ever since with the hope of creating awareness of the beauty of native habitats through my art.

This immersion in the natural world inevitably led to the wonder of bird's nests as architectural feats that contain botanical evidence of the habitat in which they are built. In working with high resolution images, making larger than life prints, I hope to create a curiosity to a larger audience than "birders" about those builders and their survival needs. They are part of a work in progress for a book that will include information about their nesting habits and conversation issues.

The Nest Series has been created using specimens of nests and eggs dating from the 1800's to present day from The California Academy of Sciences, the Museum of Vertebrate Zoology, and the Western Foundation of Vertebrate Zoology."

Sharon Beals, November 2009

Thursday, November 5, 2009

Floating World, Brigitte Carnochan at Gallery 291

I was first introduced to Brigitte's new series this spring and I will never forget how powerful it was, even in it's early stages. A good hour was spent sitting and studying about 20 images from the series, while Brigitte read the inspirational haiku. The concept of working images from words and vis versa has always intrigued me, but to see and hear it as one in "Floating World" was transforming.

Floating World: Allusions to Poetry by Japanese Women of the 7th – 20th Centuries

"While rummaging through a used book store in Princeton, New Jersey, I discovered a volume of haiku and tanka translated by Kenneth Rexroth and Ikuko Atsumi in 1977. The poems were by Japanese women from the 7th through the 20th centuries and represent all the major styles during this period—from the Classical to Contemporary schools. I was immediately drawn to the poems, and as I read them—so allusive and rich in imagery—I knew that I wanted to make their photographic equivalents. The Floating World refers to the conception of a world as evanescent, impermanent, of fleeting beauty and divorced from the responsibilities of the mundane, everyday world. For the poets in this volume, that world centered on love—longing for love and the beloved, mourning lost love, pondering its mystery. The beauty of the natural world—its flowers, landscape, the moon, and the changing seasons—serves as the primary metaphor."

Brigitte Carnochan, November 2009

This series is available in thee sizes and is printed using archival Epson

Ultrachrome pigment inks on uncoated Kozo (mulberry) paper handmade in Japan.

Original calligraphy by Richard Man.

A selection of these images will be exhibited at Gallery 291, San Francisco from

November 12–December 31, 2009.

291 Geary Street, Fifth Floor

San Francisco CA

Wednesday, November 4, 2009

Drinkers of the Wind, new book and show by Susan Friedman

Susan and I meet at the San Francisco Art Institute when we both went there in the '80's. She is a true Renaissance Woman when it comes to art: from the series "Woman in the Landscape", numerous films, and always, always animals. She has a love and way with animals that shines in this new show and book.

The wind-spout gathered itself into a prancing horse; hence the old bedouin name for a horse, 'Drinker of the Wind.'

"I am interested in Arabian horses or authentic horses, by that I mean horses that come from the original source, since they are considered the fountainhead of all the world’s breeds and are also the most ancient of all the equine races. The book combines the misty landscapes with myths and legends and the spirit of the Arab horse."

Susan Friedman, November 2009

Friday, October 30, 2009

Final Preview

The illusive dogwood! This tree I visited a number of times, from early spring well into the late summer. Over the years it's been one of my photographic challenges, beautiful subject matter, hard for me to get just right. This spring seamed exceptional and I am finally pleased with the results. I'm offering these in two different sizes. Hope to see many of you this weekend at Hunters Point Ship Yard in San Francisco!

Open Studio Preview Four

Wednesday, October 28, 2009

Open Studio Preview Two

A perfect marriage of painting and photography has always been my goal, but by the very nature of photography it tends to be the dominant element. I rather like the fusion of the two in this image, where the different mediums are harder to define.

Tuesday, October 27, 2009

Open Studio Preview One

Five days until fall open studio, each day this week I will post one of the new works, so come back tomorrow or subscribe in the little box to the right and they will be delivered to you!

Thursday, October 22, 2009

San Francisco Fall Open Studios at Hunters Point

Please join me October 31-November 1st at Hunters Point Shipyard. I won't be showing this coming spring, so do come if you can. I will have most of my in and out of print cards and books from Chronicle books for sale as well, and a few "vintage" hand-colored pieces. Everything else I have created over the past few months, just for this showing. Building 101, #1517, 11am-6pm

Saturday, September 26, 2009

From The Archive

Archiving, it's the most glamorous word I can come up with: the emotionally painful process of going through nearly 30 years worth of work and 25 years of being in business. Last week my former darkroom was "gutted', no tears shed, I haven't used it as a darkroom in at least 6 years, just an encaustic storage area. It will be remodeled to store the "Archives". It would be so much more fun to ride that wave of creative inspiration forever and never look back, which I managed to do for all these years. The upper photo is from circa 1990, hand colored silver gelatin print taken with the Widelux, how I loved that format. Below is the same southern location done circa 2009. The panoramic will be forever in me, just in a different way.

Saturday, August 8, 2009

Fox in a Tree

Taken in the California natives garden at UC Botanical in Berkeley July 23rd. On a recent outing no one believed I saw a fox (I think this is a native Gray) in a tree. We first came eye to eye on the trail, then I thought it was gone only to find it above me a few minutes latter. It made a very distressing noise, like a large sick bird. So there you have it.

Tuesday, June 16, 2009

Small Birds

Taking a photograph to the next stage of encaustic painting often requires a "reinventing" of ones once tried and true painting methods. Especially true of this series.  I did four tests that all but ruined the subtle qualities that I so loved in these images.  At times I feel like I'm forcing the image to go somewhere it's refusing to go and leaving the photo as is, unpainted is actually OK?  But when the muse keeps calling me to continue painting, I must keep trying. Working larger proved to be my answer, nearly revolutionary in expanding my techniques and abilities to finesse the final image.

Sunday, May 31, 2009

Cloud Larkspur

These tiny flowers are a new addition to the L'antiquite' Fleurit series. They were grown by Good Humus Farm in Capay Valley California. Thank you Jeff and Annie!

Red-winged Blackbird, East and West Coast

Savannah Wildlife Refuge, South Carolina, March 2009
Grizzy Island Wildlife Refuge, California, April 2009

According to the Cornell wed site, male Red-winged Blackbirds will do "everything they can to get noticed", thus I was able to take some pictures without the proper lens and patience!

Sunday, May 24, 2009

Painted Leaf Series:23x70

Painted Leaf Series in Progress

The leaf series in progress.  I do the encaustic painting in a former green house, more charming then practical.  It can be way to cold, way to hot, some days just right.  San Francisco, being fairly moderate works for me, if I time my painting right, and the light can't be better!
The smaller painting on the top are 16x16, I work this size or smaller first off to work out the details and colors, then move on to the larger size, in this case 23x23.

Faith and Will

This book cover was designed by Nita Ybarra, who I've worked with on many books over the years.  The photo was re-created just for this book from my stock collection.  

Do you practice the "Artist Date"?  Julia Cameron made this idea famous in her book "The Artist's Way".   For over 15 years I have regular art dates sometimes with friends, or alone.  It's become an essential part of my life.  So thank you Julia.