Sky

img_9767Short on cobalt blue paint, I used pigment mixed with a little oil, then added walnut alkyd to produce the lovely rich colour seen here. There’s something very satisfying about making your own paint, but it takes a lot longer and I’m very grateful that i can get such good colours in pre-mixed tubes. 

I spent a pleasant weekend camping under a cloudy sky, most unusual for Southern California at this time of year, so we took dozens of pictures of cloud formations as reference for paintings.

On Saturday Terry Spehar-Fahey and her husband took us to lunch at my favorite sushi place, then we went on to the gallery to visit the show. It was lovely to see a steady stream of visitors to the space, and to chat with a couple of people about the work. I need to publish a book about the work to clarify the more obscure references to alchemy and prehistory for people.

The canvas is on its way!

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I’m on pins and needles…

…waiting for the canvas to arrive so I can get started preparing the big panels! I’m hoping that it will come in the next couple of days. The panels are leaning against the wall patiently, although sometimes I have the strange paranoid sensation that they’re chuckling quietly to themselves, “yeah right… have a good time, ha ha hah…” But this nervousness is superficial because although these are big pieces they require the same amount of work as a smaller painting, needing the exact same work to make the figures correct and the same techniques to finish them, so ignoring the chimeras of inner trepidation I’m focusing on my excitement to begin, for these will make a really impressive addition to my body of work.

Meanwhile, the Fortitude bear has grown, I’ve sketched some new hands (which are no good and will have to be completely redone, but doing these has helped me to understand how the correct hands will go. I’ve called Jen to see if she can drop in sometime in the next few days so I can use her hands in the same light as that in which I had her pose in the first place, so with a little luck this will all stay on track to be finished in a week or two.

I’m still looking for my models for the Devil painting, which is morphing in my imagination. I’m not so set on having overweight slaves because that would imply that greed is the only vice that is available to prevent the initiate from finding their way to the divine, which among other things is actually blocked by enslavement to material possessions, laziness, greed, lust, and excess.

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Bear

img_9766I’ve laid down the first layer of the bear’s head, but will wait until I get it more established before deciding on the arrangement of the hands over his muzzle. He’ll need a lot more definition in his fur to make this painting work properly, but I’m confident that with careful treatment he’ll turn out well.

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Improved

img_9737The face is much improved, benefitting from a bit of attention this morning and afternoon. She’ll need some hands next.

I moved her eye up a little, her eyebrow up quite a lot, extended the nose and chin out a little and softened the transitions between lighter and darker areas of value.

The bear looks very dark now that the face of fortitude is pretty solidly established, so I’ll need to get on with doing some bear studies in order to get into painting him.

I need to find models for the enchained slaves of the devil so that I can put the next composition together. Male and female volunteers please contact me via facebook! (My link is in the right sidebar) You need to be of a Rubens-esque body type, live in Southern California, and be okay about nudity.

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Practice

img_9735I’m slowly making some progress with the painting, interspersed with helping Sam with a second wood-shop workbench for the little space next to the studio. Clearly the face was better before, so I’ll need to pay closer attention to it in order to make it work properly. I’m altering the position of the hands a little to accommodate the shape of the bear’s head; no surprise here, I knew I should expect to make these changes. 

It never ceases to impress me that working en grisaille then adding colour glazes is such an efficient way of painting.

My summer school drawing students are a pleasant group. I’ve been enjoying showing them the delights of Vitruvian proportion. Although Vitrivius is god-like in his stature to figurative artists, nevertheless he was not entirely infallible, with at least one facial measurement in his system appearing to be sketchy at best. He remains incredibly helpful all the same. I find it deeply satisfying that there are geomantic reasons for well balanced buildings being based upon the proportions of the human body, more so because the ideas that were used over two millennia ago continue to apply to us now, emphasizing the similarity between us and our ancestors of the classical world.

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Gesso – grey day

I visited my friend Steve Aufhauser at his San Fernando Valley art supplies store while I was picking up some gesso in preparation for the arrival of the canvas I need to stretch onto the big panels. He’s such a gentleman. He’s helped me to understand painting materials more than anyone I know, having growing up in his parents’ art store to thank for providing him with an encyclopedic knowledge of art-making equipment and media. Thinking back I believe it was Steve who introduced me to Graham paints.It’s about time we went to Malibu for several cocktails.

The canvas is coming from my comrade Cyn McCurry who had it stowed away in her garage for years without using it. It’s perfect for what I need, being large enough to stretch over the panels, medium weight, and plenty long enough. Cyn’s back on the web promoting her work at her new website – great news for collectors looking for a good deal – check out her site and buy one of current small works in the near future. She’s very collection worthy, being one of the leaders of the new movement of romantic narrative painters in the USA. I deeply admire her paintings, having a couple of her pieces in my own collection of other people’s work, and I believe that these will appreciate tremendously in value  over the years.

Meanwhile, not slacking in the studio I’ve been continuing with the en grisaille work on the shirt and body of the virtue Fortitude, correcting some of the most loosely defined features of the face and shirt in particular, then reworking the face.

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Alchemy Journal

ban_logoNice!

I have a featured article in the Alchemy Journal for this season’s issue. About six months ago I wrote a piece about the alchemical feminine as she appears in some of my  paintings, submitting it to the editor of the journal, then not thinking much more about it until he contacted me quite recently to say he’d like to use it. This afternoon our mail man handed me a package containing a lovely surprise – the published article, including five colour images of my paintings.

The Alchemy Journal is published by Salamander and Sons for the International Alchemy Guild.

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Fortitude

I enjoyed camping with my son for the weekend, striking camp early this morning and returning to the studio after running a mile and an abbreviated yoga practice. My colleague Terry Spehar-Fahey showed up and began work on a new painting, which was wonderful, first because she works very quickly and beautifully, particularly inspiring at a time when I feel a little slow. I spent a few hours cleaning and tidying the studio, mostly procrastination if I’m really honest about it, but it really is good to be in an organized space. This afternoon I got to work on the en grisaille layer of the maiden, a little roughed in right now, but easily tweaked later to correct small discrepancies. In a prolonged session of repeated priming I also put down several layers of red gesso for the gold circle upon which she will stand, identifying her as one of the group of virtues in the tarot.

I see the image of Fortitude as an allegory that recommends keeping under control the things which will harm us without being distracted from the true goal of our life. The young woman pays attention to what is happening before her, while simultaneously holding the jaws of the beast, clearly a force that would dominate her if she were not focused on her true objective. As an angelic force, like the figures of Temperance, Prudence and Justice, she is a messenger between the heavens and the earth, bringing divine guidance to us.

Posted in Exhibits, Fortitude, Life, Making work, Openings, Other people's work, Tarot-related paintings, The Cardinal Virtues | Leave a comment

Opening reception

I’m been camping with my son for the weekend, but taking a break this afternoon to head over to the opening reception at the Hillcrest Center for the Arts in Thousand Oaks, CA. My As the Crow Flies installation is in one of the rooms there for the current exhibit. I’ll post photos of how the piece looks in this space later today.

I’m planning to work hard in the studio and at promoting my work this year, to find my way into larger gallery spaces, because the pieces have outgrown small venues.

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Bears and wolves

img_9727Here’s a strange coincidence: I spent several hours researching bears and wolves yesterday in pursuit of reference images and to learn how they are put together and specifically how they appear when they attack. Today I’ve spoken to three of my friends, all of whom either dreamed about bears and / or wolves last night or spent the day reading about them. Very odd! The collective conscious is working overtime.

Pretty rough and ready work so far, but the bones of the work are good, so I think this should take shape pretty quickly. I don’t recall making up quite so much of such a key character in a painting before. This will be a good challenge, and fun to do.

By the way, reading about wolf and bear attacks was pretty un-nerving. Those are some ferocious creatures.

Posted in Fortitude, Life, Making work, Tarot-related paintings, The Cardinal Virtues | 3 Comments