summer studio sessions part I

Kerdieekrdaad spent the unbearably hot portion of the past couple weeks in her ethereal air conditioned studio.  I came out with a series of 12 3" square paintings and Bri is going to town on a bunch of source material with her exacto.  Here are the first five:

Moleskine June 2009-April 2010

I figure it's been a while since I posted a sketchbook update.  I'm going to start casually drawing more, so here's a dump of what's gone into the sketchbook between the last time I was using it a lot (see Fabriano 2008-2009) and the next run (which will start tomorrow.)

 The untitled title page of the moleskine.

 I began writing as much as drawing in this sketchbook.  I find I need both languages to be honest in my expressions.

keys.  I obsessed over their forms for a week, nothing visually successful came of it, except this drawing.  

Now I can identify the keys on my chain by the pattern of their teeth.

I was thinking about Da Vinci for a while (see lung drawings)

but I don't remember what old Roman architecture had to do with it.

Man on the bus.  Liked his hat.

Maya Lin at the PaceWildenstein Gallery.  Maya Lin used to be controversial.  You know why?  Janet Kaplan told me a lot of old white guys were uncomfortable with the fact that a design made by "an Oriental" won the contestfor the government-funded Vietnam Memorial.

15 minute sketch of my awesome red table and chair and best friend

hh

Beyond the Map

when i closed my eyes a few nights ago I saw this pattern on the insides of my eyelids...blue interlocking blobs with four tentacles each, and one green one. i had to make note of it, in case it turned into anything. it turned into this tree. i finished this piece before i even went back to sleep that night. it should be called something like "taking off" or "the exciting unknown" or "up and out" but without the cliche-ness. It both got me out of my dry spell from artwork and made me think of how little I've planned past the next two years, which is more appealing than scary at the moment. I think the swingless swinger agrees.

SOLD October 2009

Emily and the Pie

i've been working on stuff, I have, I just haven't had scanner access because something ain't right with the old scanner. So an update on what I've been up to will be aired over the next few days. five new pieces, and here's the first.

just something fun I did to please my sister. adobe illustrator and photoshop.

quandaries and acceptance

I think this one is about being proud of what I have done and can do. It just happened today when I was going through photos from my first black and white photography class, and the pens and pastels came out, and voila. But I didn't really have an explanation for it after I finished trimming the edges, I'm not even sure it's finished--it just felt good to find photos that I took that made me want to make something new.

Although parts of this look collaged, none are. It is a flat drawing in pen and soft pastel.

AS OF 9/20: THIS WORK TO BE SOLD AT THE 10X10 SHOW BRUNSWICK, MAINE. FOR MORE INFORMATION CONTACT ME.

Daughter of the Flower Lady of Brunswick

My mother is a florist/flower designer. This sketch doesn't do her work justice, but it was fun to draw a composition that was designed so well for me.

Bright!Loud!

I was playing with the idea that pop culture can infiltrate even the most spontaneous gestures. With some books reflecting our celebrity culture (Life compendiums, fashion guides, products of fan followings, etc.) sitting in front of me, I dragged out my brightest pastels and worked on top of a torn up oil painting on paper. when I became overwhelmed, I started digging at the surface of the paper, uncovering the white, with metal clay-working tools.

postcard jazz

Here are some details of the first postcard-sized work in a series I will be working about the human act of making.








I'm not trying to pretend the subject hasn't been done, but today, playing around with a collage that wasn't working, I became very interested in art-making as a subject in itself. So I started over with that in mind.










Contained in this work: sketch called "freshly cut grass all over my feet", cut out smithsonian pages (this issue featured painted patterns from iranian architecture), oil pastel, tangled string from the floor, national geographic image (cropped) of a snake, pieces of a box of flatbread crackers, masking tape, and ballpoint pen.

Studio work

things I've learned at art school (sophomore year, Moore College of Art and Design)