Seaside : 2025-02

Seaside

17 February 2025

Acrylic on hardboard

15 x 20 in (38.1 x 50.8 cm)

FOR SALE

I do my best to try new things/methods as I glean them from other works. This painting was intended to be completely abstract and the new method (for me) was to use a squeegee. I think I saw a tool for painting spreading that was basically an over-priced squeegee. I wanted to try it. It actually picked up the paint very nicely (and evenly) but it pulled the paint more in a parabolic shape then an even rectangle. The soil or foreground was all squeegee but it was with several passes and color layers. I liked it but the vision of an abstract painting started to fade. I added the clouds and it sat for a few hours as just the red earth and clouds - I liked it but it was a bit sparse.

I love how Cyprus trees contrast against the sky/landscape and thought they might be a good addition. After painting some in the scene still seemed a little void of meaning. In an effort to "let go of control", I gave the trees a more dynamic bend and stronger contrast. Having done that, I figured I might as well practice the human form so I added the rider heading to the seaside. I painted the horse and rider without reference which was a good exercise for me.

I only took two pics along the way. I try to take more but just get caught up in the flow.

You can see that the trees changed to bring more motion into the scene.

I was going to add more trees to the row but added the rider instead.

Seaside in an antique frame - similar to the one holding Airmen.

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Tight Spot : 2025-02

Tight Spot

10 February 2025

Acrylic on hardboard

8 x 20 in (20.3 x 50.8 cm)

FOR SALE

I had a narrow frame to fill and I think its narrowness made me think of squeezing through and coming out of a tight spot. That feeling when you finally get over the hard part and instantly gain more hope that it's going to be okay. Since I need practice with figures and faces, I went with it. As the gif shows, it was originally zoomed out with an emphasis on the squeezing and contorting sometimes tight spots require. However, I zoomed in on the face to further constrict the space. I didn't reorientate it because a tight spot is a tight spot. If you can't tell, this a self portrait with my face pressed against a sketchpad.

The board was cut to fit this frame. It had a mat so I took shots of both. The mat version hides some of the painting but constricts the space even more. I think I like them both. The gif shows the original idea and how it morphed. About five days had elapsed.

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Skyward : 2025-02

Skyward

06 February 2025

Acrylic on hardboard

30 x 38 in (76.2 x 96.5 cm)

FOR SALE

This image was another piece projected to be in a call for art title, Omission (see Burden for more). The idea was from a drive near Denver where the sky only had two clouds, the mountains were rather minimized and radar spheres made a nice contrast. The vast sky was to be the negative space but that changed as the sky and clouds took a life of their own. I also replaced the spheres (you can see them in the gif) with a couple of people witnessing the Skyward launch. As I was painting, I noticed a very appealing curve which helped me envision the power of a launch almost taking the sky with it. Something like a wave of energy helping the craft escape. Since the sky was also departing, the negative space became the earth-tone very similar to the foreground. I thought a couple of people could capture the immensity and excitement of the event.

The hardboard was cut to fit this frame.

The gif lacks many intermittent stops but does show a glimpse of the radar spheres.

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Equal Labor : 2025-01

Equal Labor

28 January 2025

Acrylic on hardboard

23.25 x 30 inches (59.1 x 76.2)

FOR SALE

I had a blank slate (hardboard) and I thought I'd work on people and/or abstraction. This was the result. I like it. It reminds me to be grateful for what I have and have had. I can't imagine living in a world that always seems gray and I'm thankful I don't have to. By gray, I mean the environment, the buildings, the work, the morale, the future, and the level of hope. Some people start or are put in those gray worlds, but if we are fortunate enough to avoid that situation, do we have an excuse to live as if we were in it?

I rescued this frame and edged it with a custom color. I thought it went well with the image.

It worked out well since the hardboard was cut to fit.

The reaper/mace bearer is on the back of Equal Labor.

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The Horses : 2025-01

The Horses

26 January 2025

Acrylic on hardboard

10 x 22 inches (25.4 x 55.9)

FOR SALE

I've wanted to paint the Four Horses/Horsemen of Revelation for some time. I also wanted to try to make it abstract. This is a first attempt - I think the surface was too small to get the effects I wanted and kept it to their heads only. Or said another way, I didn't sufficiently plan to use the space I had. I plan on trying other versions.

The Horses in the frame for which the surface was cut.

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Burden : 2025-01

Burden

22 January 2025

Acrylic on hardboard

10.25 x 16.25 inches (26.0 x 41.3)

FOR SALE

I painted this as a possible entry for an open call for art called Omission. "Negative space in a work of art is the space around and between the focus of the piece. That space has a form. For this call, we are asking artists to create works that celebrate the value and import of negative space, to examine quiet empty elements and elevate them to primary subject matter." There might be a bit more detail in my negative space but I wanted to surround this weary hauler with the dark blue ground and stormy sky.  I also kept the structures, the burden and its bearer monochrome as a subtle hint of negative space. The bright clouds above serve to grab the viewer's attention but also to remind the traveler that there is indeed hope beyond.

Burden in its solid wood frame.

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Airman : 2025-01

Airman

22 January 2025

Acrylic on hardboard

15 x 20 inches (38.1 x 50.8 cm)

FOR SALE

I painted this to practice painting faces/people. This Airman was in a group

of Tuskegee Airmen in a WWII photograph.

Airman in an antique frame.

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Graduate : 2025-01

I had my first visit to Eugene and stayed in the Graduate Hotel. It was colder than expected and I didn't have a lot of time to explore, but the hotel itself was cool. Cool enough for me to post a few pictures.

The room upon entry and the bathroom with plenty of ducks. Eugene is

also known as Track Town, USA, which can be seen on the long pillow.

Some great paintings were in my room and the hallways. A cubism work by Driscoll, a cool/raw rock scape (unsigned) and what I call an industrial Emerald City (perfect for Eugene).

A stunning cross-country skier and two rough landscapes in the hallway. All unsigned.

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Jax MOCA : 2025-01

I was fortunate to stay in Jacksonville, Florida, in a pretty nice hotel, the Hyatt Regency Jacksonville Riverfront, right on the water. It was a trip to KJAX coming from Newark (KEWR). I thought I had been to JAX before in 2018, but after looking it up, it was actually Jacksonville Executive at Craig (KCRG). The weather was perfect on this trip making my first visit very nice. 

If I have time on layovers, I typically search "museum" or "gallery" to see if anything is close. There was a museum of contemporary art nearby, the MOCA Jacksonville. It was close enough to walk and to my surprise, entry was free on Saturdays - perfect. As you might guess, the above picture wasn't in the MOCA, but it was in a traffic circle on the walk over. It's the city's namesake - Andrew Jackson. He was the first governor of the Florida Territory. I researched the statue and found out Clark Mills was the artist. I also found out this is the fourth copy made in 1987. The others are in DC (1853), New Orleans (1856) and Nashville (1880). It has a pretty good story captured in Four Salutes to the Nation.

Digital projection (l), Sister Unreal by Cher Shaffer (c), Untitled (warriors) by Aryz (r).

When you first walk in, the back room/area captured and digitized people within a certain area. It would also change it's point of view (top, front, side) and colorization. I'm in the upper center of tye upper left picture. The center picture captured my eye because I need to work more on people and faces and it reminds me that art doesn't need to look real. I think this is more of her work - Site 1 or Site 2. I really liked the large linen piece by Aryz. I made me think I should incorporate more drawing into some of my art. He has some great work which can been seen here. 

 

Above left is Waymaker (2021) by Emil Alzamora. I thought the form showed great motion and the contrast between the steel and plaster added life to the sculpture. Adrift (2022) by Chris Benchetler is in the center and another Benchetler piece, Crossroads (2023) is on the right. I thought the simplicity, colors and contrast of Adrift worked really well. The motion and colors of Crossroads were what grabbed my attention.

Sea Foam Swirls, 1989 by Sybil Gibson (l)

Untitled (Jesus in chains), 1990s by Purvis Young (c)

Jack O Lanton, ca 1970s by Sam Doyle (r)

I liked Sea Foam Swirls because I thought it showed great motion and it's painted on a paper bag. Jesus in chains caught my attention because of its rawness. Jack O Lanton was made with house paint on metal. It was one of several, but I thought this was the best and appreciated the simplicity. I had previously seen some of Young's art in Tampa.

If you're in the area and like art, I'd recommend visiting MOCA Jacksonville.

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