I am slowly having all of my work professionally photographed. Here are the images that Will Michels took of "lifting spirits". He did a beautiful job.
LIFTING SPIRITS
11 3/4" X 5 3/4" X 7" bronze 2016
Unicorns in my work?
I have always been curious about unicorn lore, their beauty, and symbolism. However, I have hesitated to use unicorns in my work due to their close association to drawings by little girls, and the images on their fashionable pink or purple t-shirts. After reading the article below, I may reconsider using unicorns in my work.
Certainly, we could use some unicorns in today's culture.
https://www.artsy.net/article/artsy-editorial-mystery-mets-unicorn-tapestries-remains-unsolved
This summer killing time on a lazy day I was sketching with coffee and made these images.
The head of the unicorn is camolflouged in the very middle of the page.
shake shake shake V
shake shake shake IV
shake shake shake III
shake shake shake I
shake shake shake II
shake shake shake 1
SHAKE SHAKE SHAKE I
30" X 22" charcoal, ink and bubbles 2015
Easter of 2015 - grateful to have both kids in town we decided to go to the Buffalo Bayou Dog Park - all of us. My son Griffin took a slow mo video of our elderly Labrador Kitty. Kitty loved the dog park and would retrieve tennis balls from the pond like she was a two-year-old pup. She would consistently drop the ball at your feet and as you would bend over to pick it up shake all the water off her coat right on to all those standing near by. My son’s video inspired my “shake shake shake” series.
"happy dog IV" mono-print
11"X 15"
mono-print detail
11" X 15"
mono-print
meeting with a curator
In the spring I was approached to have a solo show at Nos Caves Vin. The space is curated by Elise Miller. I have a set out a large selection of my drawings out for Elise to select from.
I can't wait to see what she picks.
Why document art work?
I recently received a link to download the photos taken of my recent wire cloth sculpture titled, "January 21, 2017." It is exciting to see professional photos of my finished work, but most importantly it is necessary to have professional photos for publications, websites, marketing, submitting to exhibitions and for documentation. I feel that when art historians of the future look at the work of artists living and working in this day and age, their ability to understand the processes, materials, concepts and inspirations will be as important as the actual work. The documentation of these items will greatly add to the artistic, social and monetary value of art. It is just a hunch I have from my years of experience in the business world. I hope I am right and that it does add to the value because it takes a lot of time, not to mention money, to have it done professionally.
I love this shot taken by Will Michels: http://madebywill.com/
Will is a very talented photographer. Check out his work on his website.
Www.madebywill.com
"the turn IV"
I am still experimenting with the runner image movement and monoprints. I drew this on a piece of plexiglas used for my lenticulars 40LPI.
Detail
" the turn IV"
30" x 20"
water color, ink, and pastel
monoprint
sculptural pedestal
"that ball is not going to throw itself"
1 gallon of paint and counting
"the turn III"
"the turn III"
30" x 22"
monoprint - water color ink
"the turn" II
30" x 22"
monoprint - water color
New work and the inspiration - "the turn"
the turn 30" x 22"
water color monoprint
This is a drawing from a photo taken of my father in approximately 1944 while running track for the El Paso High School Fighting Tigers. In 2007 I used this photo for the graphics on an invitation for my Dad's 80th birthday party. This year he will make the turn for his 90th.
This photo also gave me the idea to make my photo finish sculpture. In this photo he is obviously not at the finish of a race. I have played with 3 different versions and techniques to get the right effect.
"the road" Cyclist tryptic
It took three days, but I have completed 15 (5 for each of three cyclist) mono-prints. Now, the last ones (the middle cyclist) need to dry. Then, for a week, I will press all 15 between two heavy objects to make them flat.
The road -
I, III, and II
detail
"the road". Cyclist process -step 2
I have decide to make these pieces monoprints using a water color black ink.
First I drew the figure onto a plexiglas plate with water color ink.
my work space
I look at many screen shots befor I pick the images that will work the best.
I coat the plate with a light film of oil. The oil repels the water based ink which helps created the motion of the figure.
A completed plate.
(photo from another day's work)
Once I am satisfied with the drawing on the plexiglass plate I press it onto a piece of water saturated paper.
This process yields one piece- hence monoprint.
finished piece.
in order to create one lenticular of 3 cyclist I will make 5 drawings for each of the three cyclist.
"the road". The cyclist series- process - step 1
From my slow mo video (see the prior post) I zoomed in and then I took a screen shot. I use the screen shot To work from.
