It’s winter and my activities are more inside. The sun’s low in the sky, and the days are short. A breath of warmth is through an orchid that resides on our kitchen table. The little gem holds it’s bloom for quite along time. At least compared to other potted and pampered offerings. When having a coffee or sitting to eat, this little friend pleasantly offers it’s beauty. It whispers warmer days are ahead.
I think it was the combination of the flat bone white bleached paint with dry grass, plywood clad garage, the tar papered house, in a yard that looked forgotten & sadly beautiful at the same time. The car, a Camaro, looked as though it had not moved in quite some time. The plates seem current, but the registration tags didn't. If a car could have a personality this one seemed to wear a mullet. A hero of an era that had passed. The symbol of earlier muscle cars that had roared, then faded to be replaced by a pale stand-in like this one. A symbol of main street cruzin’ cool, and V8 power that had long ago been castrated. Hmmm …brings to mind the song by The Dead Milkmen, Bitchin’ Camaro.
Early thumbnail pencil sketch - 1.7 x 1.1 inches
Base sketch - 14 x 9 inches
Camaro & Garage - oils on panel, 16 x 25 inches
Dirt Bike - Huskie - oils on panel, 18 x 13 inches
I've been exploring my own framing the last few years. I see some very interesting history on the backside of framed pieces of artwork in galleries. The handmade craftsmanship that went into some of the older pieces has been inspirational for me to take my own thoughts into framing my own work. It's an extention of my interest and thoughts about materials. Also frames have provided a bit of protection from the enviteable shuffling of paintings in a gallery setting. Kind of a merging of a subtle intention of the artist in materials, presentation, and practicality.
Stapler - oils on panel, 16 x 8 inches
Frame materials - 1/4" fir plywood, poplar, and recycled.
Part# 2-15533 Dispenser Cup - oils on panel, 17 x 13 inches
Frame materials - 1/4" poplar and recycled.
And on another note;
I do really enjoy working with vector based graphics. My old Mac was eight years and could not be upgraded. Thank you Apple. So after recently updating the OS on my new refurbished computer, I had to deal with the inevitable fallout of solid running hardware(Scanner, printers, tablet, optical drive, monitor…) being turned into landfill by software “upgrades”. It was a lot of work, and frustration, but it’s all hanging together. I do not enjoy pouring my funds into a computer. They hold their value like a bucket full of holes. I’m running the latest OS now, but I had to do a lot of research to keep my version of Adobe CS6 running. With Adobe moving backwards to a 19th century feudal payment system where workers no longer own their work. Like serfs working the land for the lord(corporation). Never mind the sales pitching from their website(how great the new CC is…blah blah), and being squeezed with updates into a forced obsolescence. So I recently took the step and purchased new Affinity software(Photo & Designer). It’s been a learning curve, but I’m really starting to enjoy some of the new attributes of what I see with their offering. Not to mention a MUCH more rational cost of ownership. That’s right you own your own copy. Still lots to learn though.
NeoBike Thingy - 2D vector, Working with CS6 illustrator, with extra help from Affinity Designer. Kind of a bridge piece.
Driving through southern Alberta last June, I stopped to use a public washroom. Another road that I’ve been over what seems like a hundred times in my life. Highway 2 the longest highway in the province. The highway splits into two roads in the town of Nanton. Each road has 2 lanes in one direction. The east side road going north, and west heading south. This image is from the west side road looking east. One of the few remaining phone booths still in service. The assumption of a world full of iPhones is somewhat a sad joke, but it grows.
Sketch to resolve the basic structure of my painting.
Another roadside artifact that I've driven by many times. The sign and others like it brought back many memories of late nights ordering in and childhood holidays. Also even the effects of the morning after having food in the fridge to reheat for another day. Order in or take out? The take-home boxes of leftovers or doggy bags also come to mind. The sign itself is a leftover as the restaurant behind it was demolished long ago. It now sits on an empty lot full of weeds with an old concrete slab. The text on the sign is a throwback to another time, a near recent past still with us today.
While driving through the southern interior of British Columbia last summer I noticed an unusual type of machinery parked off the side of the highway. The day was overcast with light showers, and the result was that the colours in the landscape all seemed heightened. The machinery was a combination of an open top boxcar with what looked like an excavator grafted on top. I pulled over and trudged back through the wet grass, and took some photos. From what I'd gather, it was machinery for removing old railway ties. The old ties are stacked at certain points, then lifted up into the boxcars. The tags on the sides were a record of urban stops, now parked out in a forested mountain valley.
Moving Ties - oils on panel, 42 x 14 inches
Moving Ties - detail
Another trip had me looking at a tree that extended over the road in a very sculptural way. The road was a sleeping secondary one out on Vancouver Island. It was a three way intersection that seemed almost forgotten. I explored a looser approach in painting this one.
Three Way - oils on panel, 20 x 15 inches
I'll be showing some paintings this June in Calgary, Alberta. The show opens June 6th at the Midtowne Gallery. For those in the area I hope you can make it.
Almost getting run over, or just having some passer-by looking at me gawking on. Then fumbling out my tiny cheap camera, yes it's digital. No phone though. I have one at home that works without thumbs, you can simply speak into it. Pulling over on the side of a busy road has others thinking I'm crazy, or up to to no-good. A security guard looking at me staring at patterns in the pavement. One security guard at a construction site told me that some guys photograph the equipment on-site for stealing later. He said that there are thieves that steal to order. Having a record of potentials helps them shop the targeted machines to prospective clients. Many client/customers are out of country. Wow, an export market. I wonder if those thieves use phones to photograph. Or would they prefer a more precise photographic record of quality. Hhmm… yeah probably not. Maybe there's an app they use, hell maybe tweetin' out, hahaha better yet a facebook page for stolen construction equipment. Moving on…..not the quickest way there, more of an alternate route. Wandering into a light industrial area there's a lawn mower repair shop….
I've been by this Totem many times. In the summer people are stopped and photographing it, or having a roadside break from their travels. The front tells a story that must end up on thousands of cameras & phones from all over the world, but the back tells another version. From a roadside stop on Vancouver Island. A stretch of highway know as 'The Malahat', or 'The Hat', it's part of BC Highway 1. The Totem is carved from cedar, it sits along a ribbon of asphalt, and concrete barriers, with scenic beauty on either side.
Thumbnail sketch & base sketch
Totem - oils on linen - 36 x 22 inches
Promotional Poster art;
For the Arena Stage's production of King Hedley II, the powerful ninth installment of Pulitzer Prize winner August Wilson’s “Century Cycle,” a scarred and haunted ex-convict has the chance to lock away his past and achieve an entrepreneurial dream, but will life in Pittsburgh’s unforgiving Hill District let him?
Art Director - Nicky Lindeman
Arena Stage, Washington, DC - 2014-15 season
KING HEDLEY II
Written by August Wilson
Directed by Timothy Douglas
February 6 - March 8, 2015
I'm enjoying getting out of my studio these days. A painting from running around old back roads here on the west coast. When I do get back to my studio, it's an opportunity to look over any of my photos. Smaller paintings have been a chance for me to explore my approach further. Taking a sketch directly to a painted stage has me going back to some of my illustration approaches. Painting with oils on heavy weight paper was my traditional approach. I started laminating my own panels years ago. I've some illustrations that are thirty years old with this approach. This one's a small simple box panel, 8.75 by 9.75 inches. Materials are from the hardware, and art store.