spacerspacer spacerspacer spacerspacer spacerspacer spacerspacer Studio Happenings 2017






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Wonderfully confused. Two paintings on easels, a computer piece I was going to try as transfer to board perhaps finished, but all three still up in the air. The transfer might now go on paper, split into four sections, a demand of the small transfer paper, which led to the idea of letting the underlying light of the universe leak through at the intersections. The walking figure in Sensing Yet Hidden (4/18/2016, 11/23/2016)was sketched in using conte pencils now I am finishing it in that medium, I think--leaving vagueness of birth. The larger painting is now going to have tendrils of the ordered grid trailing off into the multi-colored universe and it's overlaying chaos trail.



Finished Sensing Yet Hidden, acrylic and collage on canvas, 18 x 22 in. Liked the vagueness of the "birth" figure on left. True, as we are only somewhat determined at birth—in fact, as we sense it, very undetermined. The "swimmer" was just right, with but a little vagueness. The ideal "cloister" has many meanings for me, from being a monk and setting off on the path of contemplation, to the isolation and dangers of the path of contemplation.



Looking Another Way, computer, to be used in various ways. First thing I'm doing is computer printing it, archivally, in four sections, which I will then mount on board, with "light" (i.e. the continual flow of the cosmos) showing through the cracks. May make the "light nearly the same color as the yellow-orange in the piece, since we do get some inkling of the cosmic flow we are part of in various ways during our daily existence. The things in the piece have both a personal and a general significance, the general probably can be teased out with a little tie spent talking to oneself.



Ingress (12/23/2016, 12/26/2016) got its underlying, many-hued chaos brushstrokes and the overlying white cover with random sgraffito strokes back into the chaos underlayer. The yellow, grid ingression was masked and extended, and now a most exciting part of the piece as some of the choas color leaked into it. [The study is shown here].




Driving through a snow squall on my way in to the studio this morning, I loved the winding skeins of snow over the road. Then I felt sad that I apparently do not convey Beauty to viewers of my art. Many sense the "philosophical" points of the works, but the love of Beauty and feeling of harmony amid the chaos and order that I want to express does not come through.

Finished Looking At Heraclitus Today, watercolor and collage on board, 16 x 20 in. Experimented with transfer decals, using Looking Another Way (1/6/2017). There were several problems. The decal was extremely fragile. The first one I adhered to the board was coming apart as I did what is usually done with collage: put down glue (turp in this case), use that glue to smooth out the attachment. The resulting fragmentation caused me to re image the piece, and, actually, I enjoyed that. Now the "light of creation/universe/enlightenment" not only peeks through, but exists all around, our revealed as we break through the programs of our perception.


A change in direction—unintentionally. I was planning on continuing the Timeline series, taking the entering grid/order/energy from Ingress (1/11/2017) as a beginning for a computer study. Next, decided to combine two visual fields, a flow and a chaotic. After some adjusting, it was looking good enough as a ground that I went looking for inspirations for the birth to late life iconography. Chairs struck me, a multiplicity of way at looking or acting that we have mid-life. However, when I put them in the study, they seemed such a perfect counterpoint to the grid/order/energy, that I pushed them around and tweaked them until a dialog was set up. Calling it Progressions As Sensed. NOW where? The challenge and growth are very enjoyable.

Perhaps the finishing touch to Progressions As Sensed is the figure, both part of the scene and yet moving on.




Did a Study for a piece I'm calling Inquiry. this is the third piece in the direction of picking a narrower aspect than the whole timeline. It began as doing a random visual field, just for the heck of it. Days later, it came to mind to add a sketched figure I had shared in a sketchbook page of beach drawings. The idea of a young boy just letting his mind idle as he dug a hole in the sand struck me. A few days after that, today, I went into it to see if I could make something of it, and was attracted to the idea of doing the same thing as I lived and as I painted.


Everything's slo-cooking. To add to the three paintings, I'v started a computer work based on hearing an old song, "You've Got To Hide Your Love Away." having trouble with creating the main image, I found two fields I could combine, and spent hours on them. While this makes no sense to me, it must make some sense on some level—I just have to work it out.

On the plane after a two-week vacation. Pulled up Hide It, but the original idea, traveling away from the monk residence in Cincinnati to visit someone, just didn't attract, even after some minor adjustments. Will probably abandon this piece, "inspired" by hearing a song from the 1960s.


The other piece, Counterpoise, after working on it for a while, held my interest. The observer was toned down a little, the walker contrasted more while being made a bit less dynamic. The "birth paint" was contrasted with the ground to make it more important. The "moon"/circle/completion was also juiced a bit to bring it up.




Progressions Sensed has taken a turn. Instead of the very dynamic flow in the studies —>,


I feel the more subtle treatment of flow and chaos, as previously used in Ingress, worked better with the idea of having some subtle geometric forms under the figure, to add even more layers of order/chaos. This is the painting at this stage. ———>




Finished Child Running acrylic, charcoal collage, 8 x 6 in.

A study for a section of a larger painting. The doing of it hasn't changed my idea about the larger piece, except that technique came out better, both more tenuous and more real.



Finished Ingress, acrylic charcoal collage on canvas, 36 x 48 in. The legs went from female with a long stride to male at a more leisurely pace-as fitting the portrait of my thinking. The contrast between the yellow rays/grid and the shadow of the chair pleases me. The chair was redone several times, and it taught me as I went what it really wanted to be: not at all morbid or threatening, but rather real yet tenuous.