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studio

It was a long day in the stu­dio. I spent a con­sid­er­able amount of time exper­i­ment­ing with new mate­ri­als for a series of works on paper. I have been cut­ting pages of text from a num­ber of excep­tional design mag­a­zines to use in these works. The qual­ity of these mag­a­zines means there is a great deal of care that had been taken in set­ting the type. That kind of care cre­ates a color and rhythm over paragraphs.

I used one such page to cre­ate these test sketches.

 

These are sev­eral strips that I cut at dif­fer­ent widths. They are all the same length. I was work­ing on order­ing and spac­ing them in a way that is con­sis­tent with the way I make my repet­i­tive marks.

 

The spac­ing of the strips and the way the edges extend beyond the back­ground sheet are also con­sis­tent with my need to break the defined bound­aries that I set for myself. The strips are rotated to cre­ate dif­fer­ent rhythms. These are a few snap­shots I took to doc­u­ment my process.

 

 

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Start­ing a new series called 18 lines.

Each of these draw­ings will only have 18 lines. I began a test on a syn­thetic paper with graphite yes­ter­day. The qual­ity of the lines are what I was look­ing for, but the visual expe­ri­ence from a dis­tance is not.

These are repet­i­tive, med­i­ta­tive pieces a response to the sound­ing series.

I know from this day of draw­ing that there’s a dif­fer­ent visual sound I am look­ing to see; some­thing more sus­tained. It may mean spend­ing more time draw­ing each line — maintaining/sustaining the men­tal place as the graphite is drawn the dis­tance of 30 inches.

A line can take 30 sec­onds to draw or it can take minutes.

I’ll revisit these on my next stu­dio time on tuesday.

 

The com­plete drawing,

 

 

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For my last series of draw­ings I con­structed an acetate mask to make the back­ground color fields on which I would place my marks. This was suc­cess­ful and I like that way of cre­at­ing color fields. But I want to make a dif­fer­ent sin­gle stroke mark. I could use a brush to do that but it would use too much pig­ment for the sur­face I want.

I want a matte sur­face and I want it to have some translucency.

I’ve used putty knives before and this last trip to the hard­ware store I picked up a cou­ple of plas­tic dry­wall scraper blades.

The whole idea is to be able to pull a color over a fixed dis­tance with con­sis­tency.  I pulled a cou­ple sam­ples. It was clear that this would take some prac­tice. I’m going to do some more tests — these would include meth­ods or devices to con­trol the start and end point of the pull.

 

I waited for three of these to dry to test their dimensions.

 

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The stu­dio is cleaned up and I’m back to work exper­i­ment­ing with two new series of drawings. This pic is after my cof­fee was brewed and I was tak­ing a break after work­ing for about 4 1/2 hours. I’m not exactly sure how I even took this weird lit­tle selfy.

Some­times I really lose track of every­thing when I’m in the stu­dio. When to rest, eat, or drink. I’m obliv­i­ous to any­thing that hap­pens around me. This was one of those time. A dream-state. Then it will become per­fectly clear it is time to stop.

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Part three of my stu­dio saga.

Finally after call­ing stew — she saved me — I had my keys and got into my studio.

I then had a full after­noon of drawing.

 

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It was a long day in the stu­dio today. I was a bit under the weather so every­thing takes exponentially longer.

But this was what my six draw­ings looked like when they were mat­ted and framed. Won­der­ful frames from Seven Arts in Old City.

The work at my port­fo­lio site >

Exhi­bi­tion announce­ment >

 

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This is one of a new series of draw­ings called soundings.

The indi­vid­ual draw­ings do not have names yet — I’m still spend­ing time with them dis­cov­er­ing their true iden­tity. They are on lus­cious Rives BFK White 22 x 30. The blue field is 6.5 x 14 matte. I’ve used dif­fer­ent grades of graphite for the grids and the dots are white draft­ing ink. I’ll be show­ing sev­eral in April, details to come.

 

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Prepar­ing to show some work.

I’ve begun fram­ing some work I’d like to show and some for upcom­ing sale oppor­tu­ni­ties. Fram­ing is some­thing I find ther­a­peu­tic. It’s a process that requires con­cen­tra­tion and man­ual skills. I find com­fort and quiet in doing it. I usu­ally do the fram­ing for small shows and stu­dio sales.

I often have work that is pur­chased framed pro­fes­sion­ally. Espe­cially if the work is large. This is one of my fram­ing photos.

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My stu­dio is really a tem­ple for creativity.

That photo is what it looks like when you walk in the door. I’m trans­formed when I walk in the door. I have a rit­ual when I arrive that helps put me in the state of mind to be productive.

Most times when I walk into the stu­dio I start into that rit­ual and I am mak­ing work right away. No wan­der­ing — no hes­i­ta­tion about mak­ing art.

 

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Spend­ing time in the stu­dio is impor­tant — even if I don’t make any art.

It’s about dis­ci­pline and mak­ing a cre­ative space in ones mind. My art­girl gave me this book to read. That’s it on the cof­fee table in my stu­dio. I don’t read fast, not under any cir­cum­stances, and this is no exception.

I’ve been savor­ing these lit­tle snip­pets of con­ver­sa­tion with David Hock­ney. I’m intrigued by his self moti­va­tion —his inner drive. He has to make art.

I strive to be in that place but my other real­ity inter­rupts it. I get closer and closer.

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Sweet.

I have the most awe­some cof­fee kit at my stu­dio. A won­der­ful Cusi­nart drip pot and grinder. That means mak­ing the cof­fee for when I’m there is as much a plea­sure as drink­ing it.

I cap­tured this shot with my first cup before set­tling down to do some mus­ing in my stu­dio jour­nal – the pri­vate one.

Oh the aroma.

 

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In the afternoon—in my studio.

Just tak­ing my lunch out of the microwave and look­ing toward the future.

Spent a great day in my stu­dio this week. I haven’t  had as many hours as as usual but I’ve had some very pro­duc­tive time. I’ve fin­ished a series of eight draw­ings. Each draw­ing has an indigo field in the cen­ter. Only three com­po­nents: indigo matte field, graphite grid, and white ink.

Every­thing in the stu­dio recently has been about less. Sit­ting qui­etly. Then slowly and delib­er­ately prepar­ing the sheets of paper to begin draw­ing. I look for­ward and make marks slowly and method­i­cally con­cen­trat­ing and each mark. Each of the recent eight draw­ings took four + hours.

 

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