Sunday, December 19, 2010

In Memory of Roads

Antidote to Winter, a walk down a summer road, inspired by an essay by a fellow blogger Roger Dauti of LE CHEMIN DES GRANDS JARDINS.

Tuesday, November 30, 2010

Hubble Inspiration



Is the journey to abstraction through a realistic door? Are all those Hubble space shots REAL? Spirial galaxy M74 is my fav and the inspiration to this new direction. This beautiful mystery is suddenly seductive to me and I want to somehow paint this reaction. Not a literal galaxy but something expansive and alive. I’m still working towards it. Stages of an internal evolution to abstraction……

Wednesday, November 10, 2010

One Hot Chevy

Anyone, back seat memories…...highschool….drive inns……? Why I had a need to paint this is as long as my auto biography and I will spare you. The Gold Chevy 20x20 Encaustic Wax and pigment on panel.

Sunday, October 24, 2010

San Francisco Fall Open Studios at Hunters Point

San Francisco Fall Open Studios
Building 101, Studio 1517
October 30th & 31st 11-6
Please join me and all the other artist's for the citywide Open Studio finale!

Tuesday, October 19, 2010

Elemental Tension-Open Studio Preview

Elemental Tension is a new print series I'm working on. Premiering in this falls Open Studio in San Francisco-October 30 and 31. Posting more details next week!

Thursday, September 16, 2010

Abstract Thinking

Abstract: I think I’m slowly getting what I like about this, the way of painting, the letting go of something already known. There was a tremendous space that happened when I was working on this piece, where nothing mattered, it didn’t need to turn into “something”. As a friend said “you have crossed over”. Maybe success is not being able to label it, a tittle seams irrelevant.


Next week: International Encaustic Artists Conference in SF. The event is a sell out, numerous lectures, studio tours, book signings. Our Key Note speaker is Christel Dillbohner, whose work I have followed and admired for years.

Thursday, September 2, 2010

Redefine


Dose the vision of yourself as an artist equal the work your doing? I’ve been thinking about this a lot as of late, as I progress (regress) more and more towards painting. I spend countless hours awake at night redefining my work, where I think I want it to go, what technique would better serve a particular problem, then the next day do something totally different. My current vision/dream is large abstracts but the photographer in me keeps screaming, and wants to do small representational work. I’ve got 7 series, going on 8 started all to want end? Partly I hope it will all incarnate into a unified whole somehow, a new “style”. I believe I better understand van Gogh’s frustrations, on many levels. Ah, ha maybe if I start thinking of myself as a strictly representational painter those abstracts will come forth! So, how dose your artistic vision translate itself on the canvas?

Tuesday, August 10, 2010

Encaustic Art

Lissa Rankin's much awaited book is out today. I'm one of 60+ artists she interviewed who work in wax. She has worked on it for years, it includes step by step instructions and lots of photographs. Happy painting and congratulations Lissa!

Monday, July 26, 2010

Anelle Gandelman Fine Art

I am very pleased to announce I now have representation in NY with Anelle Gandelman Fine Art. She has an exciting line up of contemporary artists that I'm excited to be a part of.

Saturday, July 3, 2010

Green is a color



My first years were spent living just as my forefathers had lived-roaming the green, rolling hills of what is now the states of South Dakota and Nebraska.
Standing Bear (and myself)
An optimist is a person who sees a green light everywhere, while a pessimist sees only the red stoplight....the truly wise person is colorblind.
Albert Schweitzer
Green is the prime color of the world, and that from which it's loveliness arises.
Pedro Calderon de la Barca
My eyes are green. Green is my favorite color-one would never know by looking at my artwork. I think this is a delayed reaction to spring-embracing cadmium greens! It's a difficult color to work with, the shades are endless and can go "off" into unknown ghastly directions. ARE their really more shades of green then blue, is this a trick of nature? Even Kermit the frog from Sesame Street sang "It's not easy being' green". It's so prefect out in the natural world, but we artists find it a challenge to use, as least I do and I've spent decades trying to avoid it. The painting above started out a solid moss green, and ended up mostly white, maybe a reflection of my recent wandering! The patterned moss covered pathway was from the Chinese Garden in Portland.

Wednesday, June 9, 2010

Luminous Layers

Event dates: June 25, 26 & 27 2010

Lake Oswego, Oregon USA

Linda Womack is the curator of this amazing looking upcoming show. Cari Hernandez did the piece called "Lovely Bed" on the program cover above. The show will feature over 60 artists and 160 works of art, I believe it will be the largest Encaustic show on the West Coast to date. I'm honored to be one of the invited artists, showing a number of pieces from the ongoing bird series. Please come if you're in the Portland area.

Tuesday, June 1, 2010

Souls Door




Any creative endeavor is channeled,

whether it be music or art or

theoretical science. We have the

capacity to tune in to energies

and convert them into reality

for ourselves.


Frank Alper


In Memory of Ira Wolk whose love of art made it a reality for us all.

Thursday, May 6, 2010

Painting, Palette, Photograph



Were all related here, right? I had never printed the marshy image, but kept thinking about it, for years actually. So yesterday I found it, printed it and did the painting today, another of those studies. I bravely went larger to 12x19. The "abstract" came at the end, I was about to clean the palette-it was glowing in the sunshine, made a few strokes and I sorta love it! I tend to spend a lot of time in my head thinking about painting, rather then doing it. So I set myself a goal to explore a bunch of genres, and see what resinates. Starting with the landscape, then maybe the "beautiful surface", forget the figure, at least for now. Abstract is calling, the real calling is color, the mixing and moving and transformations.

Publishing-worlds apart


Now, the latest in self publishing: MagCloud, they print your magazine for 20 cents a page, and you can put it up for sale on their site (if you want to, I didn't). This is my latest promo. A friend-thank you- helped me design it last week, got the proof a few days ago, it looked great, copies are ordered. All said and done in a week.


Thursday, April 29, 2010

Blackbirds and Angels

A bird flew by dropping its feather, I felt an angel left me her calling card.

Friday, April 9, 2010

ART and MEANING

Katherine Treffinger has posted the companion to this piece at Treffinger Daily. She has asked artists "What is the meaning of doing art for you". Check out what I've got to say along with dozens of other artists.

Wednesday, March 31, 2010

Calligraphy in the Sky

The birds of my native state-Nebraska called me home. I was on bird time for a week with the Sandhill cranes for the migration north. Six hundred thousand of them converge on the Platte river in March, feeding in the corn and soybean fields by day-roosting on the river at night. No words can begin to describe the sounds and blackened sky's of the Great Plains. I spent morning and night in bird blinds at The Nebraska Nature Center and Rowe Sanctuary, watching the spectacle of another species. Here is one image, past dark when the real show begins. I will post more soon, weeks of editing are needed first.

Friday, March 12, 2010

Providence of a Sparrow

This is in honor of B, the sparrow who lived with the author Chris Chester for many, many wonderful years, neither of them are with us anymore. Providence of a Sparrow: Lessons from a Life Gone to the Birds, is one of my favorite books of all times.

Tuesday, March 2, 2010

Eric Hesse at Surface Gallery

Compost Study, Lemons: Encaustic on panel, 2009 21 x25 1/2 inches

Compost Study, Dark: Encaustic on panel, 2010 12 x 19 inches

Compost Study, Eaten, Blue Center: Encaustic on panel, 2010 16 x 32 inches

Eric Hesse and I were in a show together at the Bakersfield Museum of Art nearly 2 years ago. In that show: Melt My Art, he had a number of small cityscapes paired with a series of mysterious interiors. I was taken by a scene of the Bay Bridge, all in grays and blues, one of those paintings that transforms one to another place, yet this place was my own back yard, but somehow not.

Eric's new work will be in a show with four other artists opening March 5th at the Surface Gallery, Cross Pollination: Connections Through the Art of Encaustic. I got a preview at his studio last week. Eric's palette is no ones but his own. He mixes all his colors, using dry pigments and encaustic mediums, then he paints, and paints, and I don't know what I love more, the intimate landscapes or the freedom of these larger compost studies.

Surface Gallery Encaustic Show 2010
Eric Hesse was born in the Philadelphia region of Pennsylvania. As a high school student, he discovered the ancient medium of encaustic as a permanent and rewarding alternative to oil paint. Throughout his career He’s employed other materials and techniques, including egg tempera, gouache, watercolor, and oil, but has always returned to encaustic as it developed into his most personal form of communication.

After attending Temple University and The School of the Art Institute of Chicago, Hesse received his BA with Departmental Distinction from Saint Olaf College in Northfield, Minnesota.

In March 2000 Hesse receved national recognition as he was selected as a fellow in the National Foundation for Advancement in the Arts’ Fellowship program. The award culminated with an exhibition at the Corcoran Museum in Washington DC in 2002.

Hesse currently lives in California, where he divides his time between Los Angeles and San Francisco.

"Encaustic provides a unique opportunity to explore the balance between control and chaos. In trying to wrestle a recognizable image from a fluid and often incorrigible medium, an intriguing tension emerges. Straight lines are a luxury, and rendering is nearly impossible. Objects that would appear brittle or stiff are depicted with a gestural, almost aqueous fluidity.

The plant materials I’ve painted are either dead or in the final throes of life. Extracted from their natural environments, and captured without context or season, they live on though expired. Stark but beautiful, they encourage us to see magic in decay, and call to mind our own fragile and fleeting state: only through the loss of life can life be sustained."


Cross Pollination: Connections Through the Art of Encaustic March 5th-May 1st
1703 20th Street
Bakersfield, CA


Wednesday, February 10, 2010

Forest Tapestry


These new works have been "unraveling" for a month or more, it took a while to work out the painting, all those COLORS. They are so very detailed the next step is doing them 30x30, these are a miniscule 16x16. Below are a few details. Painting has made me look at everything so differently these days, I still need the photograph to: get me out of the studio, more on that later, and provide the seed of inspiration. I tried out my new encaustic paint from Bee's Knees Encaustics in Canada and LOVED them. Smooth lush colors.

Saturday, January 30, 2010

Return to Water

Photograph with encaustic wax painting: 24x16. Now at Julie Nester Gallery.

Wednesday, January 20, 2010

Move over Cartier

Have you been to the Legion of Honor in San Francisco to see the Cartier show? I think this spider has!

Wednesday, January 13, 2010

Black and White




Almost overnight about 8 years ago I stopped shooting black and white. It was as if I woke up to color, I'd been living in a sepia or hand-colored world my whole life. Except for a portrait here or there I don't find the monotone work very enthralling anymore. These are actually color shots in winter. The simplicity of the imagery got me.

Saturday, January 9, 2010

Seven Layers and More



The original idea was to take a picture of each encaustic paint layer as the piece progressed, the process of this stop and go took it's toll on the "flow" of the painting, there is well over seven layers of paint ( I won't bore you will all 7+ images, this is one, four and the final). The lesson: you don't ALWAYS have to mix photography and painting and know when to stop.