First Catch

Hi! I’m back.

You’d know that if you’ve been reading my other blog though. Have you? Well you probably should.

It’s not totally filled with religious crap. There is LOTS of art stuff going on there too ya know. You have to understand, this is the project I am going to be working on for a year or more, so I’ll be talking a lot about this stuff, but I’m not trying to be preaching it. I’m just doing research for the back layer designs of my paintings. There’s a story there. There’s a reason.

I just do not want to become annoying with it. I’m sure I already am! I’m almost half way through it. The kabbalah stuff anyway. There’s only 22 letters. Ya gotta bear with me. I’m not trying to be “super Jew” or anything.

One of the tricky things is how to decipher what to write over here as opposed to what I post over there. Pretty tricky sis. I bet you think I have some kind of premeditated formula or something, don’t you? Ha! You’re so wrong. I don’t know what the hell I’m doing.

What I do know is that yesterday I was typing about some things on the other blog that made me want to mention some things over here. Excuse me if I recap a little bit from what I was saying yesterday, but I was talking about the paintings that are going to come (one day — soon. I mean, I’ll get to them any time now) and how excited I am about making them!

I was saying how I felt weird about posting my preliminary work.  And I really do – on either blog! It’s not like I have purposely been hiding it, but I guess it’s that I have been purposely hiding it.

I mean, what artist really wants another artist to see how they got from here to there, unless they have Leonardo da Vinci sketches, studies, or highly rendered layouts with grids and rulers all worked out for the proportions they are going to enlarge their perfect sketches to onto their perfectly primered canvases? There are artists like that! And sure, I’d show that shit off too! “Please, come into my studio, see my preliminary sketches? Aren’t they pleeeasing to the eye? I’ve even made some of them into etchings. Would you like some whhhite whhhine??”

Yeah, then I’d have no problem scanning up all my little sketches to show you basically what’s been in my head before I put paint to canvas. That would be easy. They just seem so, I don’t know, private.  Are they for you?

Yesterday for instance, I was talking about how I had a couple different directions where I wanted to take a new concept in my head since I’ve been out to Joshua Tree. I was explaining a little bit about how I work and how I don’t like to waste much time.

This is why I’ll go with the quickie sketch, except when I want something more rendered. Then I will “quickie” it in watercolor – because this will help me find basic lines.

And I know this does nothing to keep my actual drawing skills sharp. In fact, I admit that when I don’t sit down to draw realism – which, mind you, I am able to do (not from life though, only from 2D references) – my skill muscle gets all weak and flabby! It gets a little harder. I am a little slower. I just don’t need to do it very often. I frankly don’t want to do it unless something calls for it. A tree, a sink, a brain, an element I want to look real.

However, it’s true what they say: If you don’t use it, you lose it. 

So, I had this idea to put scaffolding in the paintings, like against the rocks. This was before I went out there. It started out as climbers, their gear, which reminded me of scaffolding, then window washers – then window washers on scaffolding washing the rocks, then maybe just in the backgrounds. Anyway, I was exploring how I want to work with them.

Like this. It’s just a little bit different in the way I wanted to go about it:

Those two are the same rough concept.

Yesterday I said, what if I want to go the route where I use the more “rendered” window washer guy? Then, I would simplify him until he had the least amount of lines so he was just recognizable as what he is without him looking “real” or illustrated. So I’d probably fill a small sketchbook until I liked him in a variety of positions.

But then I said that I wasn’t leaning that way. I was going in the other direction (like the top drawing), and I was afraid to show the rest of the sketches in this book.

Well, here goes!

5-8-14-6

5-8-14-5

5-8-14-4

5-8-14-3

5-8-14-2

5-8-14-1

These are obviously getting a lot simpler, and in some, the window washer is not even making an appearance. I think he’s on a smoke break, or he’s in the loo. Maybe I fired him. Times are tough and everybody has been out of work lately. Why should he be any different?  He should be standing in line with the rest of this country for his unemployment check.

I didn’t mean to fire him. It’s not like I’m taking a bigger paycheck now that he’s gone. I will most likely hire him on various freelance jobs. We’ll see.

In the meantime, These drawings sure suck. I know that’s what you’re probably thinking. I don’t care. Really. I like second, third and last the most. Those are my favorites. But if you ask me on another day, I might be with you and feel that they all are shit. I’m fickle like that. Some days I think I like the work and some days I know I’m a hack.

I think the trick is to keep your balance somehow. However you can do it. I do not have a problem while walking this tightrope and falling on the megalomaniac side, but if and when I do, I welcome it. I think it would be good for me. My issues are that I fall A LOT on the other side, and a fall a long way down.

But you must ask, how then do you continue? How do you continue to create art, pursue a career in art, and publicly exhibit your own work if what you say is true?

That is a good question!

I learned a long time ago, that life lesson we all know. Or maybe we all don’t know. There’s a lot of people that actually don’t know: Do or die.

Do or die might sound super dire for those of you that think art is “cute” or a “choice,” but as a child NOBODY believed in me. I am really not exaggerating when I say nobody. If I didn’t believe in myself, then who?

Think about being a kid for a minute and think about who you lived for. I can’t answer that for you, but it was most likely the person or adult that believed in you. Probably way more than you even believed in yourself. You probably didn’t even think much about who or what you were, or maybe you didn’t think much about it at all because you probably didn’t have to. You were too busy being a kid! That’s what you’re supposed to do! 🙂

Well, you had every reason in this world to live!

Now, I’m not saying “you” like it’s everybody besides me. You may be in the same boat as I am/was – or much, much worse. I am not alone, and this is not a contest. I am just saying it is how I learned: Do or die.

So, it never matters to me if I like my stuff or if I think it’s a pile of dung. Those days come and they go. What matters is that I believe in myself even when I don’t believe in myself.

It’s my job.

Power is “ON”

Alright, so should I get this out of my system? Should I tell the story of why I’ve had a big “film block?”

It’s a really, really heavy story. I warn you. And why would – how could – a Handicam  bring about such an uproar?

Well it did.

In 2007, I had a very good year in terms of sales. I was finally able to purchase a good DV cam so that I could finally experiment with video production. I had BIG plans. I researched cameras and got a lot of advice from people in the know about how I could make an actual motion picture. I got me a Sony TRV 900. If you don’t know about this camera, it is the first of the Sony DV, hand-held cams that were decent enough to make a movie with. They are basically equivalent to buying a $5000 camera today, but I got one on eBay for $500.

It worked great, but the body of it looked like it had been dragged behind a car or something. I didn’t mind because it worked and I knew what it was really worth.

The reason I was interested in video at all whatsoever was because I was ULTRA inspired by a film called Tarnation. This film gave me amazing energy to put together my own autobiography as a documentary art film, complete with animation, footage of my parents, personal diaries, and the like. It would be very similar to what director, Jonathan Caouette did in Tarnation, but without the billions of hours of footage he had. He was documenting his family since he was a very young child! Kind of amazing. Not kind of, totally.

Anyway, people had always told me that I should write a book about my life, but I never felt I was a very good writer. I really thought that once I got this camera, it would bring out some big, talented filmmaker in me that was dormant or something.

That didn’t happen.

Nonetheless, I still very much wanted to pursue my documentary and I had ideas to begin getting footage of my parents in their weird little habitat in Las Vegas. And I realized that I would probably have to go out there quite a number of times before they would be used to having a camera in their face and start to act natural with me filming them.

So I began driving out to Las Vegas to visit them.

I think I’m going to have to tell this story in parts.

Sorry.

Part Two to come soon. 🙂

Transition

I often have dreams about places I’ve lived, studios I’ve had. They are mixed up in my head and sort of blended together, and I’m usually moving in the dream. Sometimes I am in the middle of the two places, a lot of times Michael and I are splitting up. I suppose we dream about what we fear the most. Sometimes we are just separated because someone has to stay in one of the houses while in transition. Somebody has to stay and paint the new place, spackle the holes in the old place — something like that.

Anyway, all this cleaning out the studio, and thinking about how to fit everything in some future home had me thinking I guess – had me dreaming, and worrying – about transitions.

I am getting ready for my big trip and it is going to be all about transition.  It’s actually starting to scare me a little. Sometimes when I’m scared of something, I look it up in the dictionary. Defining it usually takes the “heavy” significance out of it for me. It gives me a sense of control or something, but this time it more or less scared the shit out of me more!

tran·si·tion

[tran-zishuh n, –sish-]
noun
1. movement, passage, or change from one position, state, stage, subject, concept, etc., to another;change: the transition from adolescence to adulthood.

Yup! That about sums it up! That’s what the plan is. That’s exactly what I was setting out to do.

So why would I get cold feet?

Okay, it’s not cold feet. Believe me, I am excited and I am so looking forward to it. I’m just a little scared. Mostly… curious.

I think I love that the word “passage” is in the definition. Yeah. I like it. Passage… Like I will come out of this a new artist, a new person. Hopefully, an improved one. But we’ll see. You know, that’s all about confidence? It really is. Because there’s no such thing as being a “good” artist. Not really.

In other news, I have a few pictures of how Monographie is looking. See?

They are not the greatest photos on Earth, but it’s a little peek for you. At least I’m giving you something! Jeez, stop complaining.

Here’s the front:

front

And the back. (Clever, eh?)

back

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standing
I think it’s looking pretty, pretty, pretty, pretty lovely. Don’t you think? Don’t you want one?

The inside is even better! (Horn tootin’!)

Making Space — The Impossible Task!

I don’t know how much different this blog post is about to be from the post I just made on my Exodus Project Blog, but here goes.

I just finished cleaning and straightening up my studio, Rubber Soul. I have a studio visit tomorrow with a curator, plus it had been an utter mess for months.

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I was even able to clean out my flat files and organize them. I can’t believe I got to those! People think I’m so organized already. Now I am! I’m pretty proud of myself, I must say. I was just throwing stuff in there willy-nilly, and thought I had a “system,” but it wasn’t quite working out. I think I needed to have an inoperative system for about six years before I knew how  to make an operative one, if that makes sense. Ha ha ha!

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Now it’s so fucking clean and organized and exactly right this time, I want to shout it to the heavens! (I get to excited about this stuff!) And hey, maybe this will work for other artists for all I know. Once I split things up this way, I was like, oh yeah, duh!  So here are my drawers from top to bottom, and of course, many only pertain to me, specifically:

Surfaces – All the nice, clean paper I have yet to make art on. I even divided those up into big flat bags and marked them (#300 cold press Fabriano, etc.).
Wraps – Anything that will wrap a single sheet of paper/print for a buyer or to ship. Paper or clear envelopes, “stiffiners,” large envelopes, acid-free paper wrap, cardboard, etc.
Originals – Large original work on paper that’s too large to fit in any of my portfolio books.
Journal Project – All the original drawings from my Journal Project.
Cut Patterns – A bunch of patterns that I’ve already cut, plus all of the master patterns for future cuts. These are for both paintings, and the Journal Project.

Large Prints – Prints over 20 inches in either direction.
Artists’ Books – These are mostly the ones I pull out for display. I keep the “fresh” ones in boxes somewhere else.
Small Prints – I have a lot of these.
Portfolios – I keep all my portfolio books of works on paper in here, large and small.
OPP – Other people’s works on paper: originals, prints, and photographs.

Yeah, I love to organize. Can’t cha tell? If you can’t tell from the above, those are two different cabinets. I have a really big one, which is the top one, and a medium one, which is the bottom one. Come to think about it, I often wonder if my 2nd one is the smallest version of those Maylines. Not that it’s a Mayline, it’s some other brand. I’ll have to measure it sometime and figure it out.

But it doesn’t even flippin matter since it works for me. They both work for me and I really don’t know what I’d do without them. However, I don’t think I could ever afford – and I’m not even talking money – another one. I don’t have the real estate. I don’t even have the real estate for everything I have now!

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I lose sleep at night thinking about how much art shit I have! How much art furniture and painting storage I have. It makes me nuts!!! It really does. If I ever had to move and I couldn’t have a two car garage with a little back extension (yeah – like where am I going to find that???), then I don’t know what I would do!

Then again, I can also consider it this way: Some artists need a studio space, and a 500 square foot studio is not very big at all. I would just have to figure out how to pay for it …again!

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