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.
"the road". Cyclist - and what inspired this series.
Inspiration for new abstract series- I am often asked where my ideas come from. The answer is everywhere. I am always looking for imagery that interests me. Imagery that, when abstracted, will express a particular emotion or energy. I then think about what type of lines will best express that feeling, what media will work best. I was inspired to create the cyclist body of work a few months ago very early on a Sunday morning when I was peacefully driving down Allen Parkway toward downtown. "Could you be loved" by Bob Marley was playing on the radio. The asphalt street, slightly curving to the right, sparkled in the glaring sunlight. The second that I saw them, I was inspired by their images, their lines, the rhythm they shared, the obvious camaraderie that bonded them.
Below is is a summary of what I remember of that morning.
Houston's downtown skyline was lathered in dark shadows; it dripped silhouettes of oil into puddles. The silhouettes, their broad shoulders and fit waistlines bobbled back and forth over my dashboard, as their black spindle-like legs pumped the pedals right, left, right, left, never straying from the pool of their shadow. I stayed a safe distance behind and studied the rhythm of their images. Their body language, their energy, and sense of being part of a pack stayed with me.
If you zoom in you can see it like I saw it.
I will post more in my process soon.
grassfed
I started eating only grassfed Beef in 2006. I am finally noticing, in 2017 eleven years later, that the grassfed craze is catching on. I have never been shy about promoting the health benefits of grassfed, as well as the environmental benefits. Anytime I am at a restaurant that serves steak I always ask the waiter if their beef is grassfed. If it is not grassfed, I order something else. If it is grassfed, I order a steak. Back in 2006, actually until recently, I always had to order something else. Lately, I have found that many restaurants are carrying grassfed meats.
I have also made a few monumental drawings of grassfed cows, from photos I took while visiting my friends Lisa and John Harrison's grassfed cattle ranch. Below is "grassfed I". It is drawn on a piece of recycled brown paper. I am getting her framed and gifting her to two of my favorite environmentalists. She will be in the background when they are on FaceTime conference calls with soil scientist and environmentalists, from Paris to the USA, and from Morocco to Mexico. I am so happy to be helping in a very small way to promote grassfed beef and regenerative agriculture.
https://www.organicconsumers.org/sites/default/files/grassfed-marketstudy-f.pdf
This cow just stared at me as I took her photo, without skipping a beat, as she chewed casually in the pasture.
"grassfed I"
charcoal and gesso
60" X 36"
"the road". New Lenticular- cyclist
That is what I call a long day
5 new images for a new lenticular
I will interlace these so that when you pass by he appears to be peddling.
work space.
The last straw
-home again after the Texas National 2017 show. I am so grateful to have been selected by Benito Herto and for all the people that worked so hard to put the show together.
THE LAST STRAW
12" x 10" X 24' bronze and reinforced concrete 2014
photo by Will Michels
Cole art center
Suffrage-
I stepped into the tack room at the via organica ranch in San Miguel when I was there last month and I saw an exhibition of saddles. I took note - I would like to find more saddles to exhibit with suffrage.
Finding the right pieces is a challenge.
Experiment with dry brushing and mark making
faux bois on paper
