Blind

This is an in-progress shot from 2007. I remember being most interested in the white foreground shape, and being frustrated by the rest of this painting. I ended up painting out all but the white shape and cutting the panel into a shape. I tossed it aside for a couple years, and then painted it into something else.

I just happened onto this image and am blown away by the simple egg shaped figure in landscape.

When one paints imagined figures within the illusion of a gravity-bound space, it so easily slips into a yucky type of surrealism, stylistically. Some of this results from a perceptual rut, where we tend to lump together to many different things, without distinguishing what's really there. I tend to reject some of my own tendencies, because I start identifying them a certain way, with certain types of work.

Long-winded way to say I wish I had this panel and I'd paint out the white shape and the yellow shape, and just leave the big egg.

Rulers and Rules

6' x 12', latex, glazing medium

As I painted this, I kept being reminded of Harry Davis. He was my foundation drawing professor, and his pet peeve was ruled lines. He banned rulers from his class, yet he insisted we draw straight lines. I totally get it, and especially during this project, where I painted quite a few long straight lines with a script liner brush. The handpainted line is beautiful.

The next year I had Robert Weaver for an illustration-focused drawing class. He insisted that every straight line be made with a ruler. He expressed every bit as much outrage as had Prof. Davis (for non-ruled lines) that anyone would do otherwise.

Were I to go back in time, I would stump them both with a Mary Yeager quote, "Rules are for amateurs". Mary used this phrase most often in reference to gardening, but it's applicable to almost everything, and it's really fun to say. Mary is also responsible for the "Dumbass with a dream" title I've used on a couple paintings. Some friends have chattered of about collecting and publishing Mary's unique truisms. If you ever run across a book titled "Yeagerisms", buy it!

Confession- I'm Into My Day Job Work

Below is end of day Friday - I was supposed to be done, or close, but I have at least three more days to go.
Being off work today, I'm already missing it. I have a very strong desire to paint a one-stroke lintel, allowing it to trail off, naturally creating dimension. Architectural rendering is amazingly satisfying. It really slows me down, and I can't dash through it. It slows me down and I start enjoying the process in a different way.

It doesn't show, but the monochromatic color scheme is actually a very subtle layering of brownish gray over blue-lavender gray, with slightly yellowish highlights.

Luis Coig Reyes

Other Important Things, 8 1/2" x 11", watercolor and graphite
Baby Jesus and the Larva, 2' x 2', watercolor

I recently found this wonderful work by Luis Coig Reyes, via his currently in stasis blog, Corpus Callosum. There I am included on a "like" list of artists that is pretty humbling. Wow. I'll be raiding this list for upcoming Rocktown posts.

Be sure to view the 102 Tiny American Paintings on Luis' site. Great accompanying statement. These are inspiring, they make me want to re-path my work.

"Black and White and Read All Over"

Dowager Brooch, 12" x 8.5" oil on wood

Brooch of Bewitchment, 14" x 12", oil on wood

Buffalo Heart, 14" x 12", oil on wood

I can't tell if I'm legitimately self-doubting or just in a grumpy mood, but the boa frame annoys me. I feel I've sacrificed a painting (an experience) to make an art object (a symbol for experience). I also have mixed feelings about exploring the point where a painting functions as an object. It seems interesting. All human pondering is interesting, and formal considerations are ultimately about human pondering. I just think this particular issue, the workings of a painting functioning outside of the 2-d realm, may be of relatively minor interest, compared to the workings of a painting within the 2-d realm.

These are for the upcoming color-themed show at the Harrison Center (16th and Delaware St, Indianapolis). Opens on Dec. 4.

Backsides

Bootleg Exhibitions and Mt Comfort Gallery

Jenny Buffington at Bootleg Exhibitions Vol.1

Aaron Schmidt at Bootleg Exhibitions Vol.1

Tyler Meuninck in "Public Works" at Mt. Comfort

Saturday, I hit two closing receptions at the corner of English and State St. .

Tyler Meuninck was showing some great paintings, done mostly with a beautiful palette of pinky browns. These urban landscapes combine atmospheric space with abstracted space, which works especially well with the mid-value, low contrast paintings.

I had heard and read from many different sources that Bootleg Exhibitions, across the street from Mt. Comfort, had hosted an excellent inaugural and second show. There is so much local marketing bs pushing entities to succeed by blowing hype, that, to some degree, I blew off the input I receive on this gallery. I shoulda listened better.

The space is so exciting that the work shown forms a symbiotic relationship with it. Well, I should say, the artists are intentionally working with and within these conditions. The space is raw, and display decisions are brilliant. The rawness is embraced and played upon, but not in a precious manner. Rather the arrangements are unselfconscious, direct, and efficient. I can't really address the work shown, because I stupidly waited until the closing to see this show (and missed the inaugural show entirely), but what I saw was very good.