New day

New day, new ideas new work.
When I finish up a large body of work, over weeks or months of preparation, painting and finishing/ delivering a final painting or series of paintings, I have a definite sense of not only letting go, but excitement for the next thing.

A friend tried to compare the delivery of a body of art with a childbirth metaphor.
Uh, no.
I've done both and the experiences shouldn't be in the same sentence. Or planet.

So, no, creating art is not childbirth.
Creating art is something altogether different, but I'm actually not delving into creating with this post but rather that space of transition when art leaves or empties the studio and filling the studio back up with art.

This morning I had the pleasure of attending a once a year prop sale that a local event company holds in order to clear out unwanted inventory. Items like 9' Oscar statue cutouts, full size tiki huts, yards of batik fabrics and vintage diner seats are for sale. Last year I scored a complete set of bowling pins and ball.

Needed additions to my life? Of course not. Amusing ephemera? Absolutely.
That is, after all, the point.

It is these items often that hold my attention.
Last year, after I'd moved into my very little house, the neighbours on the north side of the fence line introduced themselves by way of a very loud party which came to its conclusion with police, streaming and paddy wagons. (That's a van to you younger folk)

After the questionable party guests were removed, the lasts of the guests found their way to the backyard and into sleeping bags.

My backyard, long and narrow, served as an exceptional place to try out my newly acquired set of bowling pins and heavily weighted ball.  At 7 am.

Here's what I noticed: the distinct ball rolling on concrete and subsequent cracking sound when said weighted ball meets or strikes the twelve plus ( did I mention the extra pins?)  pins is one of the most distinctive sounds on the planet. Unlike any other sound I know, it is isolated in its specialness.

Incomparable to any other sound. Like an ice cream trucks trilling music or the old fashioned bell on a bicycle, or the ring of a dial phone announcing the incoming call.

I don't spend much time in bowling alleys as a rule, but I have been known to throw a few strikes. But the best part of this particular early morning sporting activity was that I didn't need to bowl a perfect game to feel and hear the satisfying sound of this unique early morning alarm system.

And there, as my eyes raised up to the heavens, smile on my face, was the inspiration for my next series. A beautiful specimen of a conifer. What would be the starting point of a new series or body of work.

Thanks to my neighbours.

This

This.

On a routine visit to a gallery to drop by paintings, I saw this book. The book of art books.

Artist Gustav Klimpt has had the most influence on my work since, since...the beginning.
Attracted to his ongoing occupation with opulence, I've always been attracted to his more is more style.

And then,  on a routine visit to the gallery, I spotted the book.
Overwhelmed by the size and weight, I knew it was something special.

At two hundred bongos, I'd resigned myself to the practical: no. "you may not buy that book." I told myself repeatedly.
After all, I have 4 other Klimpt art books in my book case.

On a return visit to the gallery, there it was again. I sat down to flip the pages and realized just how spectacular it is.

Due to it's size:  approx 20" tall, 18" wide and 4" deep, it requires a hefty commitment of time and lap space.

Flipping through the pages, although I was unable to spend the hours I'd preferred to pore  over it's pages, I knew at once that I must have it. The book. It had to be mine.



Once back to my computer, I discovered it's $60 discount thanks to Amazon (thank you amazon)

ordered. done. arrived.

bliss.

It does not disappoint. In fact, dare I say...it has exceeded my expectations.

in the spirit of the holidays...

'Twas the night before Open Studios
And all through the Nut
Not a creature was stirring
none except for the rat.

His evidence had been found
Though we'd used a trapper.
He'd left behind dog treats
And a fragrant brie wrapper.

"Oh, Liz," he'd say
If he could speak.
"I'm smarter than you
And I should now think,
That you would provide me
With things that are nutty,
Food that is juicy
And nothing too cruddy"

"I'm more than a rat,
I'm vermin, I'm weasel.
I'm plague and I'm icky,
I squeak and I squeezle"

"And if you can't meet
my demands in your lair,
Your dogs will be first
The one with the black hair."

"It's Pixie, I'm sure
She's the one that I want.
She's smelly and stupid
And no doubt piquant."

"Squeeze her into that trap,
I'll nibble her toes
She'll soon stop that yapping
When it's off with her nose!"

"I do like it here,
it's so fun, so artistic!
So exciting, so thrilling,
and sometimes quite spastic!"

"But the fun shall soon end
As I am a fiend,
Cause the one that I want,
Is the dog you call 'Been' ".

"I've seen her cavorting,
scampering and hopping.
Pooping and pissing,
All requiring mopping"

So if you can stand it
Or I'll take my leave,
Meet my demands and
You'll not have to grieve."

Chicken, potatoes,
Fois Grais and cheese!
Crackers and sausage,
Make it spicy, oh please!"

"Salmon and cupcakes,
Bread now and then.
I hear that you're able
to get some from Ken."

"My set up is good,
This drawer is ok,
I'm here when you're sleeping,
When you're up, I go play."

"So let me please ask
As the humblest of critters,
If you'd mind if I stayed
Or would you get the skitters?"

"I could mop, I could clean
I could wash all the dishes
I could be your best friend,
And fulfill all your wishes."

"We'll be happy, I swear it
With these modifications
Once demands are all met,
With quality libations."

"So let me please stay
I implore you dear heart.
And you won't hear a sound,
Not a peep, not a fart. "

signed,
Rat

Voices

The term "finding your own voice" comes up in the arts generally and in particularly visual arts from time to time.
One of the many challenges of a painter (I talk about painting mainly on this blog because I'm a painter and this is my blog. ) is to develop their own look, their own style. Their own voice.

With so much fantastic art available to view both physically as well as on the internet, it is not only overwhelming visually, but can be quite intimidating.

Painting something better than fantastic? That seems to be the internal goal as well as internal conflict.
How to wow myself as well as others.

Aside from the goal of selling art, ( Selling art is an entirely different conversation better left to another time.) being true to ones own voice and finding that voice is difficult at best.

(salvador dali)

One subject, many renditions might be considered the goal. As an artist, there are finite "subjects" but the way and style of rendering the subject makes us stand out as individual. Abstraction is one of the best "thumbprints" I can think of when I think of original paintings.

(jasper johns)

In days of yor, (always trying to work that into a sentence) there was something called a 'Salon'.

Using the time of the impressionists as an example, artists would join together at one location, with one subject, say a figure (human model) and each artist would paint or sketch the figure his or her own way, in their own style. One subject, many "voices"

From personal experience, of artists finding their own voice, I sometimes wonder if there was much conflict from this practice. When do two artists voices come too close to "sounding" or looking the same?

(modigliani)

We are all inspired by images we see, books, photographs, visits to museums, access to the world through our computers. Images are "borrowed" all of the time, sometimes copied in the name of inspiration, but its the artists choice wether the final result is considered inspired by or seen as a copy of some other work.

(marc chagall)

In my own art, I spend a huge amount of time in my head and on paper working out ideas and compositions. I'm constantly inspired by the agricultural surroundings of the valley, so I never lack for subject.  Through the practice of art, literally, in the studio working things out for myself, playing with color combinations, the way medium work with each other,  experimenting with  technique, painting at different times of day to see the effect of light, how paint responds on various surfaces. These are only a few examples of how a painter finds their own voice. 

Then applies that voice to the subject.

(gustav klimpt)

How I depict the subject is my "voice"

Find yours.

right under my nose

solutions, that is.
I have often used the excuse of "I'm not a photographer, I am a painter" for the poor quality of my jpegs of my paintings and yet, simple solutions were not so far off, given I'd slow down long enough to listen and think a few things through.

First I'll show an example of a three paneled, twelve foot long painting, depicting cypress with gold leaf overlay.

This would be an example of my modus operandi, or me being too lazy to take the time to a) focus the camera, b) figure out some proper lighting and c) being in a rush plus lacking space or a designated spot at the studio. (sorry, that's three things all smushed into "c".)
Fact of the matter is, most working art studios are limited on space and one does what one can.

Yes, I know that dropping this image into photoshop is an option and I use it frequently, but if time and care are taken at the front end of photography, the tinkering is cut down, dare I say sometimes eliminated if the correct methods are utilized up front. Plus, it goes against my instincts to take a photo and then doctor it so much digitally, that I must ask myself, is this really what I 'm seeing when I look at my painting?

Moving right along:

The second example is the same three paneled painting, the photo taken in the same area of the studio, utilizing some very simple solutions.

of course I am aware that this is not a professional studio shot, of which I don't have the time or pocketbook. Most working artists don't, so the most important thing was to use the best gadgets, help and advice to improve what I could, and spend as little money as possible. 

The hot spot of light, in the top middle or so of the painting is indicative of the nature of the gold leaf. Unfortunate as it is, what brings luster to the painting is also extremely difficult to photograph. I've had the metal leaf paintings photographed by professionals, and alas, there doesn't seem to be a magic bullet to correct this problem. So, I write it off as another beautiful problem with taking images of the metal.

So, circling back round to the photo session this week, to attempt to produce a usable image, with out having to spend or haul large paintings around to photo studios,  I present exhibit A:

I bought two of these, super simple to use lights. they've got a switch on the back that lets me switch from bright to super bright and when pointed toward the ceiling, the light bounces off and does a lovely job illuminating the area in which the subject resides, without being pointed directly at said subject. I also hung an additional white panel directly behind the painting as well as made sure that the image was shot during day light hours to utilize any naturally occurring light available.

Of course, it would just be plain wrong not to mention that the improved photo was taken by a friend with a " real" camera attached to an actual tripod, but since my photography skills are laughable, I'm not going to start writing anything about aperture or shutter speed (is that the same thing?)to name two. 

I will stick with what I know:

I bought two bright lights and took a better picture.

Yay for me.

(and good thing I have friends with nice cameras and talent)

Productivity

Surges of productivity are something I relish. I've never had a hard time with it- the productivity I mean. If anything, I have to remind myself to pull away from the easel, and the studio to get back to other necessities. Kids, house, weed pulling, grocery shopping. The daily ephemera.

J.R.R. Tolkein wrote: "that shimmer of suggestion that never becomes clear sight, but always hints at something deeper, further on."

His suggestion of creating something more that what we see intrigues me. I take the message as an impressionistic artist might: my vision.  The image I strive for in my painted canvas is not one of realism. Reality is the reason I have a camera, or I look to others photography for that image.
It's the non reality I want.

It's more fun there anyway.