October 2009

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“I want to be an artist.”

Those are the words I said back in 1987, my freshman year of high school, to my guidance counselor. I was 13 years old. He was a dull-looking man with pale skin, well-trimmed beard, short, black hair, and a glass eye. I don’t remember his name but I do remember that glass eye.

I wonder if glass eyes have gotten any better since then?

I was asked what I want to do “when I grow up” as a way of mapping out the classes I should take in high school. I ended up taking a LOT of art classes. I think that sometimes Mrs. Hammerman really disliked me but couldn’t do much about it because I was her little star pupil (much to my chagrin – I didn’t really like the attention, which made it all that much easier for me to push her buttons). In my senior year I had 2 study halls and always managed to get a pass to go paint. I was in Painting II and Directed Study, which was where I painted some more.

I would stand there in my backwards, oversized button-up shirt, Walkman on, and paint.

And, boy, did I love it.

Things went downhill after high school – the military left me bereft of art opportunities and I had built up a nice salary and a corresponding lifestyle by the time I left the military 8 years later.

Then I settled in and put the dream on ice.

Then I started to write out my ramblings and ideas on Facebook last year. As more and more people joined, I got more and more heat about it, and I eventually stopped. Now I’ll still write but I’ll do it on a scrap of paper that will promptly make its way to the recycle bin. My ramblings haven’t stopped, I’ve only stopped sharing them.

However, what I really wanted to untap was the artistic flow that I had stopped up all those years ago. Gone were my lame excuses. It was time. I STILL wanted to be an artist. I still WANT to be an artist. I AM an artist.

So I dove in one September night and painted a picture, Summers End. I was hooked.

It’s been just shy of 2 months and I’ve completed a decent number of paintings.

I work at a Fortune 500 company. I can’t say I hate it, because I don’t, but it’s mostly dull but mostly pays the bills. I’ve been coming to a slow realization as I read Ayn Rand’s “Capitalism: the Unknown Ideal” and reading Seth Godin and catching up to successful artists on Twitter that I’m a wage slave. I can’t quit my job. I can’t stop working today. I’m a slave to it. And a deep, dark loathing bubbles up inside of me to even type out those words. This isn’t who I was supposed to be.

So what should I do?

I should be who I’m supposed to be. It seems pretty obvious, but, like all things that seem easy and obvious, it’s all-at-once difficult and simple. It’s its own paradox.

I will break out and continue with my themes. I will capture the fleeting thoughts and ideas on my blog, on scraps of paper (that I’ll keep instead of making them grist for the 80% post-consumer waste mill), and on the voice recorder in my cell phone. I will continue to draw, the watch inspirational art movies (I just watched “Helvetica” and I could really relate to the guy that said “bad taste is ubiquitous”), I will continue to PUSH myself.

Sometimes I have an idea and I’m afraid I can’t reach that one quite yet. Sometimes I paint total crap and share it, anyway. Sometimes I see myself through perspective of dissociation, sometimes I sketch it. I have some ideas that I pursue and they become impractical. I have some feelings I forget before the shower is over. I have drawings in canvas where I’ve lost the muse; I have others where I’m afraid to destroy the drawing with paint.

Above all these things, though, I have a goal: I want to be an artist.

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“Hotel Window,” 5″ x 7″, $100

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My second official (but fourth, actually) Different Strokes from Different Folks picture. I was actually more than a little reluctant to do this one and waited a bit on it. In the end, though, I’m glad I did it. As always, I learned quite a bit from it.

I painted over a few parts because those muddy yellows and distant bluish colors were challenging to get just right. I thought about tossing all realism out the window and going for a completely abstract piece, as many others have done, but I wanted to try a few challenges.

First, I switched Burnt Sienna for Burnt Umber. I’m glad I did – I think I got some better grays and I think it interacted better with yellow. My palette is now down to Titanium White, Yellow Lemon, Alizarin Crimson, French Ultramarine, and Burnt Umber. Just 5 colors (well, technically 4 colors + white). I can get a lot of mileage out of that palette, I think.

Second, I wanted to go a little thinner on the paint, so I did.

Third, my underpainting was a heavily diluted yellow that I then blotted up with a paper towel. It was dry just about immediately. I did my drawing directly in super thinned Burnt Umber, closing one eye and using the paintbrush to measure it out. Burnt Umber, unlike Burnt Sienna, dried really quickly.

I’m very pleased with this painting. Again, not something I’d normally paint, but that’s half the point of doing the DSDF, right?!

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“Becoming,” 14″ x 18″, oil on canvas board, $700

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Third in the series of 5 self-portraits. The series is about me, exploring me, exploring what it takes to become an artist after all these years of denying myself and trying many, many things instead. I’m trying to let the pictures paint themselves as much as possible. Myself the idle passenger, the casual observer changing the results of the experiment simply because I’m observing it.

“Becoming” had a few inspirations. First was the idea that I read somewhere that you should paint the human face with a yellowish upper, reddish middle, and bluish lower. While I understand the reasoning, my personal opinion is that you should describe the face you see, HOW you see it. How YOU see it. So, being the impish little prick I am, I exaggerated that statement in a pseudo-mockery of it. Because I reject things dictated to me by self-proclaimed experts.

I also wanted to do a painting without any white at all. And I succeeded in that – probably for the first time ever.

Burnt Umber has been my nemesis. It always turns to mud. So I re-introduced it here in the underpainting and let a bunch of it show. Look, mama, burnt umber and no mud!

“Becoming” is about edges, mostly. The paint is becoming something because I drew in the outline in my colorful black (or my hand-mixed Payne’s Gray, if you please), intentionally losing edges and intentionally bleeding color without abandon. I put some straight black on one side to push some contrast, but I wanted to keep the painting dark. I’m becoming, but I’m not there yet. I may never be what I am to become, but I am in the process, emerging from the darkness, pushing your fucking rules aside, rejecting what you’re telling me, letting me be me.

Which is all at once intensely simple while simultaneously eluding me at every turn.

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So, first, I realized I’m only on my third self-portrait in the series of 5. And I’m not quite sure how to pull together tonight’s painting – I’m going to let it lead me in our subtle dance. I have documented some loose ideas for the other 2 – one’s an old post here and one’s on the nifty voice recorder on my cell phone. Though I’m struggling with one idea. I might pitch it to the bin. The circular file. Yes, the inimitable shitcan. Well, it’s actually a virtual shitcan, but you get the idea.

I was looking at Linda Apple’s bicycle shadow paintings yesterday and my brain did a lightning cross-check of stuff I’ve done, and I had a minor epiphany. Just minor, nothing big. Okay, more like a “duh” moment. I often take pictures of my own shadow. Yes, I’m a dork. So my wife tells me. And she’s probably right. But what just came together was a menage a trois of inspiration (bicycle shadows + my taking pictures of my own shadows + self-portrait series) – series 2, another 5 self-portraits, this time with my shadow lying across various objects, or showing me doing things. I’ve got some tungsten lamps in the garage that will make some nice shadows if the sun doesn’t cooperate.

I can also use this as a platform to get a little more detailed in my paintings. I can burn through 5 of my smaller canvases, toying with detail that way. I can play with contrast, exaggerating colors and values. I can play with various techniques for massing large areas. Hmm, perhaps some additional limited palette exercises.

(as an aside, I accidentally created Burnt Sienna last night from my Payne’s Gray mixture (“colorful black”) and cad red medium – these are things you’ve just got to experience by slapping down some paint on the palette and sloshing it around and asking yourself, “Self, what happens if I do *this*?”)

Eventually, I’ll get to the point where even my bad days are great pieces. For now, though, soldier on and learn, learn, learn by continuing to paint, paint, paint.

Did you ever notice how paintings are somehow disappointing when you get close up? It’s like you expect to see MORE detail when you get closer, but you just see how the artist deftly fooled your eye. I end up feeling a little let down but at the same time I get inspired because I see the mystery unravel before me. And I realize that I can do that, too. And I will.  Soon. By exploring some Shadows of Me.

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“But Still I Persist,” 11″ x 14″, $450

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Once again, spent a lot of time, more than I expected. Once again, I need to learn to use my camera properly.

Overall, though, I’m happy with this. The colors, the words, the pose, the title.

I also got a chance to prep a canvas for tomorrow night’s portrait, which I’ve got drawn and ready to go. Just need to paint it, and I’m intending a very loose painting for my fourth self-portrait (it’s a 5-image series), so I might be able to finish tomorrow night. That would be good because I’m getting antsy to start on the current DSFDF.

A few words on this piece.
Just when you think you’ve got it made, wham! life slams you with a zinger. You think you’re a good artist and then you see so much better. But still you persist. You try to paint more but life gets in the way. But still you persist. You have hopes of a sale and it falls through. But still you persist. Your last painting just doesn’t live up to what’s in your head. But still you persist.

A million lifetimes pass and you’re floating along in the cosmic void and you still don’t think you’ve quite got things figured out. But still, you persist.

The drudgery of another day rears its ugly head and you have a hard time getting out of bed. You’d rather be painting. But still you persist.

Those that are successful are those that are tenacious, that persist. I do this because I must. I must persist. The world will try to get me down, but still I persist. *I* will try to get me down, but still I persist. I will try to be my own saboteur. But still I persist.

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Okay, got it this far tonight, it’s after midnight and I need to go to bed now…

but_still_I_persist_day1

Boy howdy, this self-portrait has been difficult. Not sure how to quantify or classify that statement, but I think it’s because I’m going for bold colors (the red background is right out of the tube) and I’m going for a VERY flat texture (as opposed to my typical impasto), and because this one has a lot of details.

I still need to do a bit on this one and it’ll probably take all of tomorrow night’s painting time:

  • outline with black lines (my colorful black, which is ultramarine and burnt sienna)
  • put in some detail on the star – I think I’m going to trace along the inside with red
  • put in the curlyque
  • lettering, lettering, lettering. This will take most of the time. And lettering in oil over wet oil isn’t exactly easy. Maybe it’ll be tacky enough tomorrow that I’ll not have any issues

Self-portraits are curious things. My wife asked me why I don’t just be honest and stamp “I am awesome” across the top, as if the self-portrait is an homage to myself. I told her, jokingly, that she doesn’t understand my art. She replied, seriously, that I’m right, she doesn’t.

But I’m okay with that. Because my art is for me. I love to share it but, even if it doesn’t sell (and right now, it doesn’t, because I’ve just started), I’ll keep doing it. Always have, always will.

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This drawing took a lot longer than I’d expected. So I guess I’m not painting tonight. But I’m happy with the concept and the drawing, so it’s worth it. I *do* have a full time job. Maybe one day my art can be my job, in which case I can draw and paint all in the same day.

I’m not sure how I want to proceed on this. I’ve considered a few things:

  • solid colors, no shading, outlined in black
  • glasses and eyes/nostrils/mouth in black, the rest of my head one color, blue background, white star
  • a light flesh and a slightly darker flesh (2-tone), black outlines
  • a light underpainting (so I can still see the drawing) with broad, messy strokes that don’t stay in the lines. Come back through with black to outline. Come back through to clean up colors and hide all pencil lines
  • throw it in the trash?

“But Still I Persist,” 11″ x 14″, preliminary graphite drawing

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Sometimes I wonder if I’m going down the wrong path with my art. So many great artists do the “traditional” thing. While I use a fairly traditional method, my results are not something that would fit into the nice, neat categories of still life, landscape, or portrait.

Sometimes.

Then there are other times when I question myself, censor myself. For example, I’m an atheist and I see a lot of god-culture crap around me. I see a lot of church-state issues. I see a lot of zealots trying to ignore facts to get their church’s viewpoints made law for all to follow in obeyance.

It’s hard for me to say, “Fuck it” and do what I want to do, say what I want to say. “Oh, better not say that, there might be repercussions,” and “Uh oh, that might piss off so and so,” and, worse yet, “I won’t do that even though I really want to because it might impact my art market.” I don’t even HAVE an art market yet, and I’m worrying about it.

Fuck me.

So I’m going to do this self-portrait series that I started yesterday and sketched out another idea for tonight’s painting (inspired by Hazel Dooney – again) and just be me. It’s called, “And Still I Persist.” It’s all about me. Isn’t it always?

So if I say, “Fuck your god,” then it’s no personal offense to you, really. Just fuck that god that keeps trying to creep into my secular society.

And if I say “fuck” a whole lot, then so fucking be it! It’s my artwork, it’s my world, and I have to live it. Besides, nobody cares, so I’m told. I’m also told that I should ignore everybody. So I’ll selectively take that bit of advice, thank you very much. I’ll just create my art in my own little hole until I’ve got about 20 pieces or so to start to share. Which should be in about a month.

In the mean time, I’ll still have the nagging thoughts. I’ll still censor myself, despite efforts to the contrary. I’ll still wonder. And I’ll still say “fuck” a lot.

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“Nobody Ever Said It Was Going To Be Easy,” 14″ x 11″, oil on canvas, $450

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So I was all set to do just a couple of colors, thinly laid in, with a mostly solid background (perhaps a vivid background, though). But the painting wouldn’t let me. It whispered dirty little things to me as I painted, things I’ll not repeat here. It teased me. It was the good girl then it was the bad girl. Then it told me to break it, anyway.

What can I say? I had to paint the painting how it wanted to be painted, not how I wanted to paint it.

Though I think I STILL suck at taking pictures of my artwork, especially when I do those terrifically messy and thick white brushstrokes – the white balance goes nuts and I have to tweak in The GIMP.

I mostly stuck with a limited palette. Except when I didn’t.

I mostly stuck to my original vision. Except when I didn’t.

I mostly thought I could get away with it. Except when I didn’t.

Then, rudely, the painting told me to get over myself. Self-portraits are such prima donnas sometimes.

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“Nobody Ever Said It Was Going to be Easy,” 11″ x 14″, oil on canvas

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I had this idea today that I could so some self-portraits but with a personal twist – close-up and extremely simplified. I might go down to 2 tones, maybe 3. But that’s it. I’m going to outline the face in a dark color and the background may end up just being some flake white (because I want that pasty texture). I’ll use my normal signature brush to do the writing in a bold color. I might invoke the Sienna underpainting with the limited palette of Sienna, Ultramarine, and Titanium White. Except the writing. It’s taking a bit of limelight, so deal.

Back in high school I used to fill sketchbooks with a sort of “chain of thought” or “spoken word,” if you will. The drawings were fragments that meant something to me and then I would simply write the text along the path of the object. It doesn’t matter if the text fits the drawing. Because it will, no matter what. Either directly or in a Nietzsche Family Circus sort of way.

I refined the process over the years but I’ve never, ever shared them.

Well, here goes nothing.

I’m going to aim for several of these in this style. Let’s say, oh, at least 5.

Last night I watched “It Might Get Loud,” a documentary about Jimmy Page, The Edge, and Jack White. Jimmy Page has a lot of screen time (he’s the co-producer) and really spends a lot of time talking about all the questions he had while learning guitar. He practiced and practiced, he experimented and experimented, and also did just regular Joe sorts of things like fill-in studio work.

No, I’m not Jimmy Page. I’m me. And I need to experiment so that my style will reveal itself. Reveal me. Reveal what it is I want to say. Or maybe what I don’t want to say?

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