Thursday, November 25, 2010
Wednesday, November 17, 2010
Tuesday, October 19, 2010
This print is first image of "Gale" within the disaster series. As with "Deluge," "Conflagration," and "Eruption," this "Alpha" is an etching with aquatint. Being lost in the wind is a harsh thing to imagine as it attacks multiple senses and leaves you completely discombobulated. However, the wind is the easiest disaster to escape if you have adequate shelter.
Monday, September 27, 2010
Wednesday, September 22, 2010
There is an organization called America Scores that works hard to provide after school activities for disadvantaged youth in urban communities. They offer sports such as soccer and creative activities like writing and play acting. I am humbly participating in their Inspired Art fundraising initiative in which artists create a work of art that is based on a poem of one of the children in the program. An artist always finds inspiration from a great many sources and illustrating prose is an excellent way to master mood and emotional resonance. This piece is titled "No one is there to tell her everything is ok." It is a multiple color woodblock print. I carved into birch panel and used water based inks on very fine paper. The poem is from an 11 year old girl and is as follows:
While she stays everyday with no one there
To tell her everything will be ok
She feels like her family regrets her being born
She hates the fact that she has to feel this way
And she feels like a big disgrace.
If you are interested in helping America Scores please visit their blog: http://americascoreschicago.blogspot.com/
Wednesday, September 1, 2010
Monday, August 30, 2010
Friday, July 30, 2010
It goes without saying that the hands and feet are the most difficult parts of the human anatomy to capture perfectly, followed of course by the face. The one part of the anatomy that is often overlooked is the back. There are so many subtle variances in the structures of the scapula, ribs and spine as well as all the muscle groups making the back frustrating to get right. Above are partial back studies of Tiffany focusing on the scapula. The vine charcoal allowed me to focus on the movement of the torso while the silverpoint focused on the projecting surfaces.
Wednesday, June 30, 2010
Monday, May 24, 2010
There is an unfortunate lack of anatomical mastery in art education in the USA. I am collateral damage of the post modern era where concept and expression took precedent over academic style teaching methods. For that reason, I am constantly struggling to perform that which, at this point in my career, should be second nature. I can not stress enough how critical it is for the artist to continously sharpen their ability to draw and paint the human body, especially the hands and face. That is why so many self-portraits exist of the great masters; understanding the one face you never see, save in reflection, is the best way to master the structure of the face. Here are two charcoal head studies of Vikki & Jerry. Ideally, one head study per week is the way to go.
Wednesday, May 12, 2010
For this piece I decided to replicate the pose of Rodin's sculpture "The Thinker." Using historical art as a springboard for one's work is a perfectly acceptable way to master certain techniques. In fact, there is ample precedent in which artists borrow style, image and composition from other artists. This is because all visual arts, just like music and language, are governed by rules of grammar and vocabulary, how the artist composes the final sentence and paragraph is what makes the work unique.
Friday, April 30, 2010
This was a very interesting pose to work on as the subtle variences of the anatomy of the back were difficult to bring out. I feel that I need to revisit this pose in the future with a different lighting scheme (as she was lit from a frontal angle). Nonetheless, I am still satisfied with the outcome.
Thursday, April 15, 2010
This piece is titled: "His throat was parched." It is a woodblock print using birch, which has the consistent surface of oak and the ease of carving of pine.
The image presented is meant to invoke the sacrifice and pain that individuals have thoroughout history taken in defense of family/home/nation. Not only the dying man, but his wife who is as valiant and noble, if not more, than her husband. She is brave and stoic as she is trying to alleviate her husband's discomfort, but there will never be any solace for her. Millions have died and continue to die in gross abuses of human rights and flagrant violations of common decency. So many lives ruined with not one iota of solace for those left behind.
Tuesday, March 16, 2010
One can easily overlook certain elements that can become big obstacles to getting the drawing right. Perspective, foreshortening, value range, proportion, etc. are all critical in making a successful piece. I began the drawing of Vikki in graphite by mapping out volumes/shapes and building up from there. Half way through I realized that I had not captured the pose correctly as I elongated the legs to make up for foreshortening, an easy thing to miss. I corrected that in the second drawing using vine charcoal and the very methodical optical reduction method which fixed the drawing and made the pose stand out much more. The highlights were achieved with white pastel.
Saturday, February 27, 2010
For this pose, Mason had to find a comfortable postion and stay nearly still as any slouching, change in angle or sagging would alter the entire anatomy. I started with a series of drawings from various points of view, then created a rough maquette with Roma Plastilina. The final sculpt began with a heavy gauge (6) aluminum wire acting as an armature on which the plastilina is built on. The scale is 3 inches per foot. I choose to leave the surface rough with my finger indentations visible so that I can have the worked in look of a Rodin, who is my favorite sculptor in all of art history. When I have finished touching up the detail, I will have to find a way to create an easy to assemble series of molds which will allow me to make wax positives that I can make bronze casts out of.
Thursday, January 28, 2010
This is a work in progress of Tiffany at the Sewing Machine. It is a 36" X 48" oil on canvas. Due to my zeal to finish the piece completely with the model, I rushed through the drawing and the underpainting, making the actual painting substantially more difficult. I spent more time correcting the drawing errors, thus negating all my intentions. It is critical to take the time in the beginning to make sure that everything is in order before you continue. Taking the right steps at the right time relieves much of the tension and anxiety to painting. I managed to save the piece and recover its direction, but it will now take me longer and it still did will not be right.
Tuesday, January 19, 2010
These are two proofs of work in progress. The pieces are part of a series titled "Deluge." By repeating certain motifs in both the linocut and the etching I am allowed the opportunity to examine the same image in different ways. This actually helps develop the compositions by learning from each style and incorporating that insight into future interations or revisions of the work. The plan is to explore the theme in 7 different media; etching, linocut, b&w graphite drawing, oil painting, watercolor, pastel and bronze cast relief.