I just signed and numbered 90 prints. I felt famous for a minute!
Anyway, all the last minute things are falling into place. Timer to buy some wine and arrange for some food. Busy busy! Hope to see you at the show. I know it's going to be spectacular!
Post Script - Unfortunately, with the time crunch, I'm not going to number and sign the catalogues. But if anyone wants me to sign their copy I am more than happy to do so.
The first group of catalogues for the Spectrum show have arrived. It is a limited edition of 100 copies and will be available October 5th at the Jung Center of Houston Bookstore and here at the website the following week.
After several months of hard work, I've just a few more weeks of even harder work left before the October 5th unveiling of my first ever series in Constellationism, SPECTRUM: An Archetypal Journey of the Psyche.
Opening Reception October 5th, 5-7pm
Not only is this my most ambitious project to date, it showcases my most recent experimentations and/or growth in my own journey as an artist. The series consists of 14 pieces, each one 22.5 x 15 inches (prior to framing); they are each matted and framed identically.
The whole goal of the series was to see if I could throw a group of pieces with the idea that my unconscious mind would provide me with works that would or could form some type of narrative, or, at least, hint at a narrative.
Since myth and dream come from the unconscious, one finds that logic becomes fuzzy. Like interpreting a dream, I had to really contemplate on what they meant to me and how the pieces interrelated with one another. But consciously and logically finding a narrative thread in a heap of dreamlike images seemed almost counter-intuitive. I tried not to obsess too much about it. Ultimately, I knew what the pieces were and how they correlated; I realized that the problem wasn't what they meant, it was giving the pieces their titles.
Anyone who knows me well, knows that I can easily spend as much time thinking of the piece's title as I do on the piece itself. And this series provided to be no exception to that fact. Three pieces remained untitled up until the night before I had to drop them at my frame's shop. Sure, I had notes and thoughts, but I couldn't find the right words in a concise format.
My art is dream and myth, symbolic in nature, and therefore does not reference itself. I try to title my work so that it, too, points past itself (and the work) to what the work is really about, and that should require no words. The work should hit you in the unconscious. But it is my hope that, much like when I create the work, there is that moment where it strikes you so profoundly that it pierces through your unconscious and fascinates you for a moment, what James Joyce called "aesthetic arrest".
Anyway, as far as the narrative goes, they are there, and I say "they" because, much like dream logic, different ingredients are often mixed together, lines blurred, genres crossed, etc. In my decryption/translation/interpretation of these images I have found shades of several narratives. I invite you to find one that suits you.
After this post, I'll create a Facebook event for the show. Also, here is a link to the event on ArtsHound.com.
Also in gearing-up for the show, I am pleased to announce that this will be the first time ever that I will be selling giclée prints of the entire series, so if you've ever wanted a piece, but could not afford one, I have finally gotten around to fulfilling many of your requests. There also will be a SPECTRUM exhibit catalogue for sell through the Jung Center Bookstore. A 10" x 10" soft-cover, 20 page, full-color catalogue of the show with extended introduction and liner notes. Not sure how much that one is gonna cost as of this post, but it will be between $30 and $40. If I can figure-out the commerce section of my website features, I'll eventually sell the books online.
Soooo, lots of exciting stuff going on and I'm super-duper busy, so I should stop rambling on and get back to work.
I saw this video a few weeks ago and just love it. Jason Silva explains what awe is, and why it is important.
I makes me think of when I'm throwing ink, and that moment when the image pierces through my unconscious and into my conscious mind in a moment of inspiration and recognition. I watch in awe as something forms itself in front of me. And although the moment lasts only a second, I can feel the echo for days as I think about the piece and how excited I am to enhance it and show it to others.
Check out the video, it's short, but it packs a wallop!
Hello all and happy Wednesday!
Last week, I was chatting with Rhonda Lanclos, a fellow tenant at Winter Street, and she showed me this wonderful little book she had which was basically a little, spot-cover portfolio. It was perfect for carrying around and to show people her work.
I know we're in the digital age and all, but sometimes it's better to view things like that on something a bit larger than a mobile phone and not all of us can afford touch-screen tablets. So after seeing this, I was excited about doing the same. After all, my studio mate, Paula Hawkins, had suggested I self-publish a coffee table-type book on several occasions.
So I did some research and compared online publishing sites like Shutterfly, Blurb, LuLu, and even Apple's iLife to find that, aside from various additional services offered by each site, pricing was pretty close across the board.
First, I created a portfolio book of all my work, from 1996 to present, and soon realized that these things get expensive, fast.
That lead me to rethink what the book was actually for, am I printing a one-time portfolio, or should I do a smaller, "best of" style portfolio?
When I spoke to friends about it, many seemed excited and suggested that I do the retrospective book with some thoughts about the process, psychological and mythological aspects, and favorite quotes of mine that pertain to art and maybe a nice essay from me. These same friends suggested that I could sell the book at events and online. Great idea, but after seeing the costs involved in publishing each unit, I am feeling discourages. Would collectors and/or fans really pay $60-75 for a coffee table book of my art? Something in me says thats a bit steep.
Sure, the price comes down with large order numbers, but, it still isn't cost effective for me as I have to put the money up front and recoup my costs through sales, nevermind shipping or a dollar or two in profit.
So I returned to the idea of just publishing a smaller book (about 30 pages) of what I consider my best work, with only my artist statement at the beginning and a bio blurb at the end, with about 25-28 pieces in the middle. And although a couple of these would be to have at the ready to show folks, a handful would be saved to send to galleries if the opportunity should arise.
So in the end, I chose Shutterfly, for no other reason than they are having a big sale due to Father's Day and have reduced their pricing by 30% (on the format I'm using). The book is all ready and sitting there, but I cannot bring myself to actually order the 8 I was planning. With shipping, it's over $200, and I'm wondering if this investment would be a wise one. I'm sort of stuck. so I thought I would blog about it.
On another note, I was thinking of doing a calendar at the end of the year. I could sell those and give them as gifts! Would anyone like a Constellationism calendar for 2014, filled with my favorite work from this year? Thoughts? I would love the feedback.
So this past month has been chocked-full of twists and turns. So much so, that it seems as though I've spent the last thirty days working on more art-related stuff than actual art. In the end, it's all part of the job, and I've loved every minute of it.
Here's a breakdown:
First of all, there was the deadline for submissions to the Jung Center for 2014 exhibits, so I got all those materials together as well and submitted them. I would really love to have an annual show at the Jung Center, I think it would be a great platform for my work. My show this October is actually to be shared with one other artist. Scott D. Finch, who will have the main gallery. My series will be on display in the side gallery. If the Art Committee is gracious enough to grant me a show next year, perhaps they will give me the main gallery? That would be wonderful.
Next I found out about the Lanwdale Art Center's 2013-2014 Residency Program about a week prior to the deadline, so I took a couple of days and got my application together and submitted it. There are three spots and each artist will be provided 24-hour access to studio space, $1,500 to start for materials, and a $500/month stipend for nine months, at the end of which there will be an exhibit for the artists. I am so grateful for the chance to apply and excited at the prospect of a residency! Keep your fingers crossed for me.
Then there was the Annual Jung Center Member and Student Art Show, for which I entered three pieces. It's a group show and always a fun event as well as an opportunity to schedule a babysitter and go meet others at the center.
I have been trying to finish a series that I have had in mind for about a year now, which are all done on mottled, brown stencil board that I had bought long ago. Working with this oily board is a little weird because the properties differ greatly from the cotton paper I usually work with. The colors I used are various, iridescent golds and bronzes with opaque whites and dark sepias and india inks. I've completed five so far and I'm pleased with the results.
Lastly, tomorrow is our open studios, but this time, Paula and I have decided to kick things up a notch and make a party out of it. We've bought plenty of food and booze for tomorrow and I asked my friend, local DJ Henry Chow to provide us with some upbeat tunes for the day, all in the hopes of mixing things up so that this open studios may stand out a bit.
So if you've nothing to do tomorrow, swing-by for a drink or a snack. Stop in and say "hi"! We'd love to have you.
NOTE: I was originally going write a scathing post about how I wasn't going to enter any more local group shows and/or contests due to recent events. But as I typed, I realized that, rather than naming names and going into certain details, I would do my best to avoid playing the victim and keep focused on what I'm doing now and what my next steps are going to be. I'm glad I caught myself before I posted anything that could be considered whining. Trying to keep a positive mind. And now, a new blog post.
So often I'm busy doing so many art-related things that I don't have much time to actually do the work. I often feel my days slipping away before I even get to step foot in the studio.
I have a big show in October at the Jung Center and I would very much like to have a show between now and then. I was actually thinking of two shows: one show could be a studio show in order to sell some older work that is taking up space, the second show would be a in a space somewhere in order to show new work.
The difficulty in the show exhibiting new work is getting it in front of people who have not seen my work before; my wife says "let's have our own show" which is thoughtful and sweet, but what I need is a mailing list full of contacts. We can get the space and the drinks, but without some promotional power behind it, the show would be family, friends, and colleagues, they are all greatly appreciated, but I need new eyes on my work.
So there's the issue, and I'll be racking my brain all summer to figure this out and get organized. When I have a show, I sell work. That's been the case thus far.
The occasions and events where I don't sell work are these giant group shows where anybody's work could get lost. Aside from Artopia and the WSS semi-annual shows, I have not sold anything at any of these group shows (and two of the three pieces sold at Artopia were before the event began).
So in light of these developments over the past year, I've decided a few things:
No more contests - I can avoid hefty entry fees and time spent putting these things together.
No more group shows that I have to pay to be part of. - Unless somebody really urges me to be a part of the show, even then I really need to follow my intuition on these things. I've been talked into too many of these things. Of course, Winter and Spring Street Studios events have preference.
Charity donations - I love donating work for certain charities whose causes are important to me, but I'm going to have to limit my donations to two, maybe three, each year.
Although organizing shows, promoting oneself and networking is extremely critical, I'm ultimately an artist and the work comes first. If I don't have anything to show, then what am I organizing and promoting? I've got to get the work done.
I thought I had more to say (and chances are I did) but I really do need to get to the studio.
Until next time.
So, as per usual, I've been quite busy and desperately need to blog before I lose track of all the events since my last post.
Esalen was a life-changing trip and priceless. To go into what the workshop entails would not only sound strange to those who aren't attending, but I feel as though it might somehow diminish the experience for me, break the spell as it were. Suffice is to say that it was just wonderful, not only the workshop itself and the other attendees, but the Esalen Institute in general and all the lovely people attending other workshops and the special folks that live and work there. I cannot wait to go back next year!
If you followed my blog, you might know that I was going to Esalen to attend the 20th Mythological Toolbox™ Playshop hosted by Robert Walter, President and Executive Director of the Joseph Campbell Foundation. I'll come back to this.
Last year, I applied for a grant from the OPUS Archive and Research Center at the Pacifica Graduate Institute. I did not win a grant this cycle, but I had a really ambitious project I wanted to, so I went ahead and did it, it just isn't funded by anyone other than myself. I wouldn't let something like that stop me from working on a really great idea.
My proposal was to use my Constellationism process to produce a series of work that would tell a story from the unconscious. Which is to say, since my subject matter is aleatory and springs from the unconscious, could I do a series and throw all the ink in a short time-frame and piece them together to form a somewhat coherent story? Well, while I was at Esalen I threw the ink for 15 pieces in the series and so far, everything has turned out great. To add another layer to the whole series, I changed ink colors monochromatically as the story progresses to illustrate a journey through the seven chakras, so the story starts out in dark reds and moves through all the ROY G BIV to end in violet. So far, none of the line work has been finished as I wanted to complete a few pieces I had going before the trip, but I should start to finish the first pieces next week or so.
While at Esalen, I met two wonderful gentlemen who run Alchemy Inc. a non-profit out of the Cleveland, OH area that uses storytelling and mythology to assist urban youth in personal growth and development while giving them a sense of self-esteem and purpose in what might otherwise be a volatile adolescence. What they do is just amazing. So amazing, in fact, that this past winter they won an NAHYP award presented to them by none other that the First Lady, Michelle Obama. Both Kwame Scruggs and Kwame Williams are truly pioneers and just all-around great individuals. They seemed to like what I do as well, because they've asked me to fly up to the Ohio area in June and be part of their one-week summer camp by teaching the young men to do what I do on a rudimentary level and incorporate it into the overall theme of the week. Needless to say, I'm going and I'm super excited about being able to volunteer my time with kids. And it will be nice to hang-out with the two Kwames again, if for no other reason than to hear them tell a story.
On one day of our workshop we died. Actually, it was a ritual death to symbolize a death to the old me and a rebirth of the new. part of the project was to create our own tombstone on black paper. So, since I was also there to make some art, I did what I do best and made a Constellationism tombstone. Now lately, I've been experimenting while I'm throwing ink, I've been trying to hold a thought in my mind as I throw the ink, so see if there's any correlation to what comes out (and of course there is, you can't put one over on your own unconscious). So this was the first time I've ever thought about myself while throwing ink. You can see the result here.
I actually gave this piece to a dear friend I made at the workshop, she really went out of her way to bring me out of my shell while I was there and was blown away by my portfolio. Since it was my tombstone, it felt odd to keep it; better out there in the world. I know Brenda will take good care of it for me. Hugs for you, Brenda!
I hade a nice group of friends during the workshop and I miss them when I think about them. It's difficult to explain, but after going through some of the things we did, you just form a common bond. It reminds me of Basic Training somewhat.
Last but not least, the most wonderful thing that happened was that Robert Walter asked me if I would be interested in returning to Esalen next year to help facilitate the art portions of the next workshop. To which I agreed. I had already had it in my mind that I would love to make the workshop an annual trip, and now I have the perfect reason to do so. It would be an honor and a privilege to be part of the Joseph Campbell Foundation in any capacity. It feels great to be able to volunteer my time and skills in any way. So excited and grateful about that as well!
I've some other news, but since most inter-webs folks don't read anything for more than a few minutes (damn people with their short attention-spans!) I'll have to post another day. Until then...
Working my butt of to get ready for my week at the Esalen Institute, I'll be throwing ink for a series while I'm there as well as keeping an "Esalen Art Journal" of more quick, sketch-type renderings.
I'm looking forward to meeting many new people and making some friends while attending various lectures and events hosted by the Joseph Campbell Foundation. Despite all my hard work this week getting my gear ready for travel, I'm looking forward to working while I'm there.
With the Pacific Ocean right there, along with the hot springs and the beautiful grounds and the like-minded individuals, I cannot wait to see what leaps out of my subconscious and onto the page!
Since I did not receive a grant from the OPUS Archives this grant cycle, I still plan to go ahead with the series I was planning to do for the grant, which is a group of 12-20 renderings, each representing a step (or individual) along the the Hero's Journey. The series will also start in dark red and work its' way through the chakras as the story progresses.
It's a pretty ambitious endeavor, and I hope that the images, in sequence, will render an overall story arc for the series. Time to raise the stakes a bit and test both myself and my own story.
Anyway, I'm exhausted already and looking forward to this great opportunity to work at one of the coolest places in the country!
Only two more sleeps!
So, I found out two weeks ago that of the 39 proposals sent to The OPUS Archive for the 2013 New Mythos Research Grant, I was not one of the recipients. Which is not to say that my grant proposal wasn't a great idea, but maybe the three winners' proposals were more in the vein of the overall thematics of this particular cycle.
Oh well, maybe next cycle will be more fitting for me, or I can adjust/modify my proposal in a way so as to generate a passion/understanding of what it is I do in the minds of the board. To those who have won, best wishes to your pursuits, and I look forward to reading your papers once they are submitted.
As for my proposal, I still plan to do the series I proposed, it just won't have funding behind it. If all goes well, it will be on display this October at The Jung Center of Houston.
As many of you may know, I was one of the featured artists at this year's Artopia on January 26th. I sold two pieces that day and was able to talk to many people about my art and what it is I do. I was even interviewed by Elizabeth Overton from Pretty Riot. The interview can be found here.
So far, since my last post, I have been working with some new, iridescent inks with great results. Although they are difficult (for me) to photograph, you can see some of them in the 2013 renderings gallery today or tomorrow. I've also been experimenting with offsetting the images and writing the extended title names to the side, using various calligraphy styles. Things are still a little rough, but I'm brushing-up on my lettering. I figure, since I use the pens for the artwork, why not use them for actual calligraphy? Plus, I can use different styles to add to the overall vibe of the piece.
Coming up in April is the Winter Street Studios and Spring Street Studios Spring Art Exhibit and Charity Box Show. I'm nearly finished with my first box and plan to throw the ink for my second box later this week. I hope you can make it tho the show. maybe you'll fall in love with one of the boxes. Half the proceeds go to Freedom Place, a recovery center for underage female victims of child sex trafficking.
I am currently reading "Dreaming With Open Eyes: The Shamanic Spirit in Twentieth Century Art and Culture" by Michael Tucker. With several references to Joseph Campbell, Carl Jung and books I've read, it is a fascinating look into certain artists and reinforces what I've already considered about the origin and influence my work shares with certain aspects of the human psyche. I often wonder what Professor Tucker might think of my work. Anyhow, great read, and plenty of room in the margins for my own notes, which is something you don't see very often anymore.
Well, that's all for now, make sure you stop by the 2013 gallery for some of my latest discoveries. Ciao!
The photos are taken, the images are posted and the gallery for 2012 Renderings is closed. Most recently, I finished a group of smaller pieces: nine 8x10s, two 5x7s, and one 4x6. I had hoped to have them all finished by year's end, but the holiday season proved much too hectic and festive to get them all done. There were two that lingered, but I was able to finish them on January 2nd and they are posted in the new gallery for this year.
This is going to be an exciting and gigantic year for me:
Artopia is coming up January 26th.
I find out about my proposal for a grant from the OPUS Archive by March 1st.
My trip to Esalen for the JCF Mythological ToolBox™ Playshop March 24-29th.
The 2013 Hunting Prize gala is on May 1st.
and that's just the Spring.
I'll be trying to broker a show somewhere in Houston in Spring as well, I'll keep you posted.
For me, 2013 is going to be about experimenting, trying new things. I have some great ideas I want to try with my Constellationism this year and I'm extremely excited to get to work. I'm actually kind of glad the holidays are over so I can get back to work. Time for some serious studio time!
I hope all of you have a wonderful and productive year this year, too! Chase those dreams down and make them reality!
Today I've added images of some recent work. There are some pretty cool things that have popped out of my head since my last post.
After completing some rendering from ink thrown in October, I decided to do a series of smaller renderings, mostly of which are 8 x 10. After doing several larger pieces, I wanted to see how small I could take things.
I was very pleased with how "With A Seed Beneath Her Tongue" turned-out, it just has a great look and vibe to it. It was sort of named after a lyric in the Govinda song "Plant The Seed". I almost missed the snake arm bracelets. Luckily, I saw them before I finished the piece.
With A Seed Beneath Her Tongue
"Amitābha Pronoucing His Forty-Eight Vows" seems to be a favorite amongst friends and family so far. He was a bit of an experiment on my part. Near the end, after I realized who he was, I noticed the two lotuses, near his third eye. When I originally finished the piece, he felt uneven on top, so I went back and added the concentric circles emanating from his forehead. Although the picture doesn't represent well, the circles are in an iridescent gold ink.
Amitābha Pronouncing His Forty-Eight Vows
Another rendering of note and another personal favorite is "Mystagogue Of Boubastis". When I threw the ink for this one, I used a 1/8 inch hollow tube for some parts. This is when I knew I could translate Constellationism onto a smaller scale without losing any of the detail or integrity of the style/process. Blotting aside, the image I saw was haunting and mysterious, and I like that. While visiting, my father-in-law thought the rendering lent itself to have some gold in it (which I thought was a great idea), so I half painted, half blotted the ink onto the mask and was pleased with the results.
Mystagogue of Boubastis
The smallest piece so far is "Quietus" which measures-in at 6 x 4 inches. I have thrown ink for a few 5 x 7 inch renderings and I still have a few 8 x 10 blots, all of which I hope to complete before the new year.
As far as next year is concerned, it's all about experimenting. I have some great ideas and a series I want to do. Along with a workshop at the Esalen Institute and an exhibit at the Jung Center of Houston, next year is going to be big for me. I cannot wait to get started! Thanks to all of you for helping to make it all happen.
Don't forget that this Saturday is our Open Studios for December! Stop by to see the new stuff, have a drink, hang-out with my studio mates Paula Hawkins and Angela Whitford. My birthday is Sunday, December 9th, so come have a piece of cake. We hope to see you there!
Well, I haven't posted in a while because I have been extremely busy. But to make up for it, I'll post about what's going on:
First off, this week is the Texas Contemporary Arts Fair at the George R. Brown Convention Center, where there will be all kinds of art on display for everyone to digest.
The opening night reception is Thursday night, so Justine and I will be attending and I hope to meet some really cool people and talk shop. I will be volunteering for Winter Street Studios and Spring Street Studios' booth on Friday morning, from 11am until 2pm, to help promote our facilities and all the great tenants.
Next, I've been planning my first trip to the Esalen Institute! Esalen is a retreat near Big Sur, California that hosts workshops in a beautiful, coastal environment that boasts natural hot springs and a self-sustaining farm.
I'll be attending the 20th Annual Mythological Toolbox Toolbox Playshop put on by the Joseph Campbell Foundation. Joseph Campbell used to celebrate his birthdays at Esalen with a group of friends; since his death, those friends have continued to meet each year, on his birthday, to exchange ideas, share stories, and build relationships with like-minded individuals.
I am very excited about this trip, I have wanted to attend for a few years now, and I become giddy every time I start thinking about it. I want to do a series of drawings while I'm there. It could be The Esalen Series or something to that effect. Right now, it seems as though March is so far away, but I'm sure that if I stay busy, it will be here in no time.
Finally, what has had me busy this week in particular has been my application for the 2013 New Mythos Research Grant: New Mythos II, the benefactor of which is the OPUS Archive and Research Center at the Pacifica Graduate Institute in Santa Barbara, California.
After thinking about different ideas about what to do - specifically - for my project/proposal, I finally got the idea this Monday past. When it all became clear in my mind, I knew I had a shot at getting one of the grants they are offering. So I may, next year, be going out to California twice, as part of the grant's requirements is to spend a minimum of 40 hours in the research center. Forty hours looking over the notes of Joseph Campbell, James Hillman, Marija Gimbutas, and other great minds? No problem!
So, for the remainder of this week and part of next week, I'll be focusing on getting my grant proposal together and producing a final draft. Once I have the final draft, I will be able to show it to a few people in the field in order to get a confidential Letter of Recommendation, which I will need with my submission. I'm sure, that with a proposal that is put together well, and a short, passionate pitch, I'll be able to get a letter from one of those people on my short but distinguished list.
Anyway, that's what I've been up to lately. Just thought I would drop-in and let you guys know! Hope to see you around sometime soon! Have a great day!
So this weekend is the big annual show at both Winter and Spring Street Studios and I find myself scrambling to get things together in a timely manner because I have been crazy busy lately. I'm getting a lot of work done and also trying to get things ready for upcoming group shows and the big art season ahead.
Hopefully, I can see some of you at the studio this Saturday evening!
Also, check out the gallery for 2012 Renderings, there are some new images!
Here is the Facebook EVENT.
Here is the official description of the Annual Show:
The public is invited to the Annual Fall Artist Exhibition at Winter and Spring Street Studios where you will find some of Houston’s finest art in the First Ward Art District on Saturday, October 6 from 5:00 – 10:00 p.m.
A variety of art works will be showcased—paintings, sculpture, ceramics, glass, mosaic, photography, mixed media, and jewelry. Free admission and complimentary valet parking is available. Wine, water and light bites will be served. Wear your most fabulous art chic fashions and join us for a gala evening of art.
Both Winter and Spring Street Studios are located in industrial buildings repurposed to serve Houston’s professional art community. Together, they house the largest collection of artists in Texas. These buildings, while often used to host major art related events held regularly in Houston, including Fotofest, Artopia, Modern Arts Market, Art on the Avenue, WHAM and 2nd. Saturday Open Studios, will be used to focus on the art that is created within their own walls.
Over 110 artists will enthusiastically greet you in their personal studios. Feel free to ask the artists about their particular technique, scheduled exhibitions, career history, and of course, keep in mind—all art is for sale.
It's been a crazy busy couple of weeks! Between packing everything up and getting all the stuff I need to move into the studio and a protracted illness for my little kiddo (poor guy can't catch a break), I haven't had much time to blog or even think about checking-up on Facebook.
Despite all that was going on, I was actually able to get into the studio here and there and work on new renderings.
But now that the proverbial dust has settled, I am happy to announce that tomorrow will be my first Open Studios Day at Winter Street Studios!
For those who don't know, every second Saturday of each month, Winter Street & Spring Street Studios open their doors so that the public can stroll throughout the building and wander into various artists' studios. Most have drinks and nibbles for people to enjoy and are willing to spend some time talking about their work and current/upcoming projects.
My studio-mates and I would love for you to stop-by and visit. Come have a glass of wine or a bottle of beer and chat about art or just look around and check out the scene.
Officially, the hours are from 2-5pm, but I'll be there around noon, and we're organizing a kind of "after hours" gathering at our studio for anyone who doesn't want to conform to the time constraints imposed upon them. =)
Here's a map to the location. We're upstairs, in studio #24.
Hope to see you there!
Here's a little preview of my section of our shared studio:
Up to the second floor, that is...
Yep, today I am moving into Winter Street Studio #24 where I'll be sharing a space with two lovely and talented artists, Paula Hawkins and Angela Whitford. I am so happy and excited that they were kind enough to let me share a space with them. I'll be spending the afternoon moving all my things over to the studio.
I think it will be a wonderful leap toward being a full-time artist. There are certainly less distractions and more room at the studio as opposed to working on our kitchen table. There are the Open Studios held every 2nd Saturday of each month as well as events all throughout the year of which I can be a part!
So enough blogging, I have to pack my stuff and deliver it to the spot!
"X" marks the spot!
Despite the tiny road-bumps like group show falling-through, issues with moulding, timing and all, my show at Cha was a success. The turnout was great and the feedback was strong and positive! Although I always start off quite nervous, I quickly found my bearings and was able to confidently talk about my work with people and enjoyed answering any questions they had. Because my work comes straight out of my subconscious, I find my subject matter interesting, so I guess it's easy for me to be excited and/or curious about work. I think that comes through when I talk about it, so it must radiate to some degree. It was a lovely night indeed.
Many thanks to everyone who made it out to the show! It was great having you all there. For all those that wanted to be there but couldn't, I completely understand, so please don't feel bad about it, I felt your support in the warmth of my heart. And remember the show is for two weeks, so you have plenty of time to stop-in for a drink and have a look.
Super thanks to my collectors, old and new, for falling in love with something I created. I know my babies are in good hands with you. So far, I have sold three pieces! Thank you Troy and Renee, for your wonderful comments, as well as Syd, I had a lovely time chatting with you about the work, you made me feel like a peer.
Special thanks to: Bree Hess and David for letting me show at Cha, to Tina Lucas, who introduced me to Bree, to Mike & Heather Welsch from Art & Frame Etc., who helped me frame the work beautifully and masterfully, 90% of the people I talked to mentioned how great the frames looked, thanks to all the staff from Cha who took care of everyone's bubbly needs throughout the evening.
Eternal thanks to my wonderful wife, Justine, for your support and pep talks (especially when I'm overly critical of myself), without you I could not be realizing my dreams. Thanks for taking care of Brixton while I was working at the show. Cheese sandwich, baby!
Again, you all have my love and gratitude.
Hopefully, I can post some pictures soon. After the two weeks is over and I deliver the three renderings I sold, I will post pictures of that as well.
I am also happy to announce that I will be getting a studio space at Winter Street Studios next week! I will be sharing with two other artists and I.m very excited about having more room in which to work. No more squatting on the floor at home and doing line work on the kitchen table. Plus, I'll get to take part in the monthly open studios as well as other art events at Winter Street. When I get all settled-in, we'll have to hold a studio-warming party or something!
So, lots of exciting things going on and I cannot wait to take these new steps that are popping-up in front of me.
Until next time...
So I went and hung the new stuff at Cha last night and everything is looking good. Just a four more pieces to pick-up from Mike and Heather over at Art & Frame Etc around 2pm and I can hang the rest.
It's all coming together! I hope lots of people can make their way out for happy hour and have a glass of wine or two, and maybe a nibble. I'd love to chat about the new work and get feedback.
Hopefully, people will take plenty of photos; if you do, you can post them to the Facebook event here.
Hope to see you there!
August 14th, 2012
For a while now, I have been constantly irritated-"vexed" if you will-by the issue of signing my artwork. Because my work is very symmetric, I hate the thought of destroying all that with my goofy signature. When somebody brings this to my attention, I always say that I sign, date, and title each on the back of the piece, buy they always bring up things like: How do people know it's your artwork? What if somebody copies what you do and try to pass it off as one of yours? et cetera.
Valid questions. Although I would love to daydream about my work being so original that people would automatically recognize it as mine, it is a concern. How would people know it is my work? As for the other question, I hold by the maxim that "imitation is the highest form of flattery". If my work were in high enough demand that somebody thought it would be easy to make a buck by going through all the work I go through to create a piece and sell it, I would think that there would be easier ways for the unscrupulous to make money.
For me it's about the art. I know I made it, I take photos of each piece and make sure each one is recorded with the title, date of completion, and my signature, I keep all that written down and on file. So if somebody sold something that I didn't make but using my name, that might be the buyer's fault. Now that I have a website, anybody with an interwebs connection can see what I have done.
Yet something still nagged me about the whole situation, so what I finally came up with are Certificates of Authenticity. A cool, little certificate to assure the buyer that what they just bought is an original work of art, by me, and has the information about the piece that they might want to have. Here's a low-resolution example that I scanned:
In addition to the verbiage in the two short paragraphs, I got to get a little graphic design-y and create a watermark of each work, so that, with the title, dimensions, date, and signature each certificate is one-of-a-kind. I even added a place down in the left-hand corner for a stamp that can only be seen under a UV light (yep, I work in ink, so why wouldn't I have UV ink? =)
So there, a fancy solution to a simple issue. Hopefully, collectors will feel like they are getting a little something extra with their artwork.
For my current collectors, don't feel left-out! I have made these certificates for every piece I have done. So send me your physical address and I will mail one to you!
This is my most recent rendering, "Vexed in the Liquid Mind". I dropped it off at my framer this morning. The bad news is that the frame I had in mind for it runs about $27/foot; the good news is that it is going to look fantastic. We searched all over the shop for a similar frame, or one that had the same feel to it, but nothing could compare. So I have to just trust my instinct and go with this wavy, mercurial moulding that I have had in mind since I was doing all the finishing work on this piece.
Since I kinda knew what this piece was supposed to be at an early stage, I thought I would take photos of my progress throughout the time I was working it. Here is a slideshow of the various stage of the work. I hope you enjoy it.
