Naught But An Odd Tree
Sorry there’s little to no fanfare about this, I’ve been buried in getting the actual works ready.Tonight I’m finishing some framing work, and tomorrow my first solo show We Search For Another is being hung at Urban Element.
The initial body will be eleven pieces, including Naught But An Odd Tree, Cockatiel Attacks!, A Longing to Belong, Boy Meets Girl, Girl Is Bitch and Girl Meets Boy, Boy Is Dick, A Road Alone, The Infinite Wall Of Failed Communication, Sometimes It’s Over, Vanity Affair, A Connection, and To Have Or To Hold Back. There’re a few more works in the collection, including a new diptych and the second largest piece I’ll have ever done that’ll materialize at the reception, the date of which is yet unknown.
At any rate, these works will be up for about a month, and they’re all for sale, so make sure you swing by Urban Element and check’em out. Drop me a line and I’ll meet you there and we can discuss the works over drinks. I’ll keep you posted on the reception, as I’m sure everyone wants to see my mysterious new big painting.
Tags: a connection,a longing to belong,a road alone,cockatiel attacks,girl meets boy boy is dick,mea,naught but an odd tree,sometimes it's over,the infinite wall of failed communication,to have or to hold back,vanity affair
It’s a double-whammy tonight, folks, with Girl Meets Boy, Boy Is Dick and the… still unnamed other painting now finished. Now just to let them dry for a little while and maybe I’ll get them shot this weekend while I have the studio lights for my first Machines of Loving Grace shoot.
I don’t have any more canvases or boards prepped yet, so that’s it for the first half of this week, I hope to have some more surfaces to besmirch with paints after Wednesday. Tomorrow I start work on my new-and-improved chicken skull mask for the Great Chicken Skull Revival. Stay tuned.
So, sorry for the lack of my usual deluge of posts (at least under Status) so far this week. I’m literally watching paint dry. Thanks to the cold weather, and my drafty windows, the two paintings I’m working on right now aren’t drying as snappily as I’d like.
I don’t think Girl Meets Boy will quite finish drying tonight for me to get much done, but I think one section might finally be getting there. And, I think the as-of-yet untitled piece I’m working on next is dry enough to lay down some outlines, so maybe, if we’re lucky, I’ll have a real status update yet tonight.
So, vermillion red is one of those underused, unloved colors. Hell, I forgot I even had some left until some little whisper in the back of my head wisely reminded me I had been experimenting with it when I painted Boy Meets Girl, Girl Is Bitch.
It’s not my favorite color, for sure. And, given my love of all things contrasty and saturated, I tend to really prefer cad red. By comparison, vermillion is more pinky, more salmony.
But, in a work hinging so highly on monochromatic schemes as this, I think vermillion might’ve ended up being my better choice anyway, that subtly off nature seems to be at home here. Maybe it’s just me.
Oh! And I finally got some more canvas. Well, duck. OK, story time:
Well, since lovely Ms Aud was the only one to respond to my request for input, it should go without saying that her suggestion is the decisive winner and the setting for Girl Meets Boy, Boy Is Dick is now a high school, complete with lockers.
Otherwise, things are clearly starting to shape up, and while I’m gone for the next day to celebrate New Year’s with Steph and her boyfriend and with Aud, the paint should dry enough for me to start the light color glazes that’ll give this the same subtle character of its predecessor.
BTW, I was discussing with Roose earlier how I don’t consider this or its partner to be works of pop art. They both get dismissed as such quite often (or, constantly), but, pop art was a movement built in derision and irony, which tongue-in-cheek or more bluntly took things of a mundane or kitsch nature and stripped them of their societal context and reformatted them as art.
While I can see the overlap, thanks to the sign people and the “bombastic” nature of these works, they actually came about from an entirely different approach, one rooted in my training as a designer. I was looking to do work unlike most of my paintings, in that I wanted them to be very quickly deciphered and to reveal themselves not just as a static subject but as a slice of story. To that end, the very illustrative and simplistic sign people were my obvious vehicle for conveying this little vignettes of heartbreak.
To the right there is the current snapshot of Girl Meets Boy, Boy Is Dick, the not-pop-art companion to this painting.
And, I’d like your thoughts. Last time, I went with a street and houses for the broken background. This time, you help me decide: where are these people? A mall? The beach? Keep it realistic (“Mars,” for example, is straight out), and tell me where you think they are. But act fast, once that oh-so-shiny paint you see in there is dry (roughly tomorrow night), I’m going to just nab the best thing I see in the comments or have Facebooked, emailed, IM’d, texted, or otherwise sent to me.
So, a long time ago in a lifetime far, far away I made this painting, my only concession to the so-called “pop” art style, although it’s roots lie more in my development as a designer and the use of societal shorthand than in any actual interest in pop art (take that, critics!). And, it was always supposed to have a counterpart, another complimentary piece that made it a whole.
Problem was, I never got around to doing it. Talked about it a lot over the ages (almost anyone who’s expressed interest in it in person as basically heard my description of the painting that should exist with it). But, never settled down to do it.
Lucky for everyone, I’m feeling inspired right now. I got its primed canvas hanging on my “to-do” wall (this painting more leans against the “to-do” wall), and now there’s a sketch. ooh. aah.
I propose that an artist’s underpainting is a lot like a fingerprint, unique and resilient to change. I knew people who strove for completely even fields of color, who blocked out the composition, and who even still did cartoons.
Me? I’ve worked in a few styles these past seven years, but I still start with a loose scribbled mess of thin color on a coarsely primed field. Makes it more fun.