Things I Don't Do Part 2

Today I am talking about sculpture or perhaps 3-d art for lack of a better term. I used to think that sculpture was, as someone told me, that thing you bump into as you are backing up to look at the paintings. As with many things it took me the act of doing (or trying to do) to get a fuller understanding of the nature of sculpture. Its job is to change the space that it exists in. Often a large bronze of George Washington in a park has less of an impact than a smaller indoor space and that is probably the mistake I had been making over many years. Once I did hit on this concept it opened a whole world of appreciation. The heading of things I do not do might not be so accurate. I have done some things that might qualify as sculpture, the matches I do, if used in the way I had originally intended qualify. The idea here was to have them taken as matches and used thusly. To be carried around with the expectation of discovering the art work on the inside. This is an item that one can handle and ideally changes the space it occupies in an art minded manner. So there is that. This little skeleton hand qualifies in the same way. Certainly not highbrow but it has some impact in its own way. The City of Rust , like the Poetry of Bent Nails is meant to be done as photographs but there is room reinterpretation. Then of course there is my pet favorite Green Glass works that I enjoy as an idea and a labor. There is plenty to say or argue as being sculpture. With some small scrutiny it seems I do dabble in sculpture. The reason I brought up the topic at all is that the Cicada pictured. It is something I did in the one 3d class I took. I liked the piece and was even proud of it. However when it came time to find it a home it was too big for me to take and no one seemed to want it. What do I do with it??? There were no reasonable storage options and it had to be destroyed. Clearly the aforementioned pieces are of a small scale but one assumes that to embrace sculpture it might be closer to an installation more than a curio. Bigger might be better in this scenario. My point being that to sincerely embrace the media one has to pull out the stops. This is true with painting but it is much much easier to store even a very big painting than a sculpture. I am not trying to argue against doing it but it is something I have experienced and was not happy with my solution. The Green Glass stuff has another issue. This was a guerilla art project and in many ways was successful but it is quite possible in the short time it was in existence no body noticed it. One does have trouble not having the expectation of wanting people to notice and maybe appreciate what they see. By definition, if no one notices then it isn't altering the space around it. This is tugging on the thread of another conversational sweater. One of the things I do not do is sculpture. The reason for this is that it might be too big to handle for my current lifestyle. There are many many great things to say about sculpture and its possibility. There is probably a middle ground but I think I am still trying to be a painter. ciao r.

Things I don't do part 1

I cannot say exactly why it is I have never gotten into photography. The easiest answer is that I have never had the proper equipment. This is not a very satisfying answer and does not account for all the good and charming low tech work one can find. That is to say, one does not need a thousand dollar camera to take a good picture. I am certainly interested in things like composition and subject matter. The science and history behind photography is worth a lot of brain power. I have no doubts that many good things can be found in photography and it is generally a continuous fountain of potential. It would be easy to get lost in photography and do nothing else. I should mention I am not thinking of cataloging or photojournalism but there is no good reason that these should not be held in the same regard. Over time I have found that there is a lot to the photographic world if one simply scratches the surface. The work of Hockne and Barthe's Camera Lucida were helpful for me both in understanding photography and seeing the world in general. I might not have to go further than the first decade of the twentieth century to be satisfied with the scope of photographic work. There is of course a danger to that statement but I do feel it is necessary to comment on how much work had already been done a hundred years ago and improving on it is not an easy task. To say such a thing about another medium is somehow different in my head and something I did not intend to write about. My point, I think, is that the quality of a good photograph have not changed with all the technology and those ideas are ones that relate directly to visual media in general. Some things are somehow better than others; a bad picture is bad but a good shot is sublime. It might be fair to say to work in any visual media is to work in the same arena and aspire to the same ends. I do not know why I have never gotten into photography but that is not to say I have not learned from it. There are plenty of people doing better work than I ever could (not that that is a reason not to indulge). It could be as simple as answering the question where does my heart lie, there are others who are clearly much more invested in it than I am willing to be. Now at the end of this post I seem to have only asked a question rather than answer one. c'est la vie r.

The situation arose in the recent past where someone was looking for a particular author here at the store. When I looked him up I found that I had read one of his books, The Family Of Pascual Duarte , some twenty years ago. I, however, have no real memory of what the book was about and anything more than the title. Had the person not asked I might never have thought about the book again. I wonder if this has or will happen to things I have made. I know well that there are things I will never see again, but how many things have I fully forgotten. Similarly I long to rediscover my own work in some other venue, to be able to say to myself or anyone else that I made that. There is a chance for this, as I have given much away and even sold some works. I certainly wouldn't be offended to see my work stolen even (but I might learn to regret that). So I have a fair amount of stuff out in the world that I should have unique and intimate knowledge of; will I ever see it again and how will it make me feel? I should also mention this may have actually happened to me. I saw a picture on line that could be my own. It is a drawing of a bat. I am not fully convinced it is mine. The style is close but not so dead on that I will swear its mine. It is also, like mine, done from a generic bat picture that has probably been making the rounds since the 70's if not longer. It is more than conceivable that many people have used it for fodder in their own work. I suppose there is a way I could check but I might prefer not knowing. ciao r.

Hello Again

I have been signing up for various projects at the art house coop. the latest one, which just went into the mail, is the map project . I recommend checking them out and participating if you can. I have done a couple before and have a few in process. What I wanted to mention today was that I did not document this "map" and have already sent it on its way. I may never see it again. I am okay with this. However it is worth the thought to ask whether or not I should be diligent in having a copy of all work I do. I can see the advantage but at the same time I choose not to prioritize such a thing.
I am happy and excited to be part of a larger venue and the reasons for this far out weigh the need to keep some aspect of the work for myself. I am sure it could be argued that they are not mutually exclusive issues. The ability of letting go of something one has created both literally and metaphorically is necessary and important. Though I often forget and give into the temptation the product is seldom the important part of the art process. I will not deny it is useful and easy to feel good about a job well done but in truth the value is actually in the work you are doing (or not doing) at the very moment. When a piece is done it is the next piece or rather the work towards that piece that is important.
Additionally there are moments in the process that one has to choose to lose what has been already done to move forward. This may not always be the right decision but often you must let go of something you like or are proud of to get to the next step. In this way too we must learn to let go of the physical object.
It is not unheard of that one sells a piece of art work. At that point it belongs to the person who bought it. It belongs to someone other than yourself. yes it is useful to have record of your work but in truth one should work continuously and not have too much trouble replacing examples of their style and ideas.
I am sure that there is much I can say about purity of art and the like but i will spare you. If someone asks I wll expound. Good to see you again.
r.

Identity Crisis

Let me go on about myself for a paragraph and then I will talk about something that is hopefully more interesting. Obviously I have not posted for a while, I hope to do so more regularly. I think it will be more thoughts than the work I have been doing. With that said, I have doing a little painting and drawing again after months of not. No promises.

I have been working in a bookstore for the last six months or so. In addition to being exposed to a lot of stories and writers there is a lot of cover art to digest. Things often come around again but it seems the age of illustration for book covers has past, the golden age that is. I in no way mean contemporary covers are unattractive or less, but they do have a different aesthete to them. I feel that it is possible to generally date a book by the cover art. There are trends and styles of periods that seem to be near universal.

Even the pulp and schlock of the day has a charm hard to find today. I think in part is the "hand crafted" aspect of the covers. Even non-pictorial covers were lain out by hand. Again, this is not a judgment call but there is a line that has been drawn and crossed, an era has passed. I think though there is, like spelunking or archeology, a wealth of experience to be discovered here.

I suppose some example would be nice. Edward Gorey's name recently came up in this context. I imagine he is well known enough but he has dozens of book covers to his credit that might well be over looked as a body of work. There are suites of books with his art work, Henry james for example.

Where am I going with this? I am just saying that there is a lot to see out there that was from an analogue age that we may not see the likes of again. Stuff I think is enjoyable and worthwhile. This includes other media like record albums that are now collectors fair rather a general consumable. I should mention that there are outside movements like guerilla fliers and poster makers who resemble something of this stuff. Also I might not know about much of it is there wasn't the internet. Nonetheless the age of Kindle and i-tunes has its drawbacks and one of them is loss of a venue for art and artists.
r.

Almost three months

Its been another chunk of time since I've posted. It is the day that Lucien Freud has died at 88. The small blurb/link on the side of the NYT page says "Lucian Freud, Adept Portraiture Artist, Dies at 88." I am passingly familiar with his work and find a certain charm in it. The thing I am thinking about is being known as an "adept portraiture." I am sure the main article has a lot more to say but it seems a luke warm bio. I am sure I'd be happy to be called adept at anything let alone portraiture. I feel it is as if the food was described as edible or anything as generally sufficient. This isn't so important to me but I thought I should blog again so why not this?

LATER
I found this caption later on"Painter and Provocateur, Set in His Ways" . Isn't that a much better or at least more dynamic statement.? On a side note Cy Twombly died the other week. I imagine a lot of the names in my art after 1945 art history book will be dwindling as time goes by.

random

Some random Hydrant photos. No insight there but still moving forward. It might still be worth seeing them enmass.
the Lenin shot is more noteworthy. I like the profile of his face. I saw interest and potential there that made me want to try doing some plein aire painting. J. reminded that I can do sketches too. So maybe something will come of it. Beyond that I bought some new paint thinner and that may be an omen of things to come.
Ten Four
r.

what is in a name?

I feel as if the subjects of this photo essay takes on a character or dynamic. That character is hovering around, waiting, watching or being on duty. The plugs seem like little civil servants to me right now. At there post 24/7 waiting for the on coming storm which may never come but at some point must.
r.

s'funny

I think the great thing about "art" and its projects is what happens to you the artist. What is happening, and rightly so, with this hydrant thingy is that I am having to pay attention to something I otherwise wouldn't. Isn't the only function of art to make you see,or rather to remember to look . This is demonstrated to me through the hydrant gig. I am now seeing these hydrants, specifically and generally, that I would of otherwise have overlooked before. This is what it is all about, art must be a bridge between the world and the viewer. There is some work involved on the part of the spectator its true. There is though a huge difference between being able to see something and actually making the smallest active effort to do so. That difference can literally be everything.

r.

No 4th picture today

I don't have a picture of yesterdays 27 days photo. I do have this though,
When you say Rube Goldberg I thing this:


I do not know how esoteric his work is these days. I've always enjoyed them and the ideas behind them. Some one showed me this yesterday. Though probably faked and clearly not actually Goldberg's it does capture a spirit I think.


I suppose it is okay to just have fun or enjoy something regardless.
cheers
r.

Day Three of Twenty Seven

This is not the actual picture taken with the ArtHouse Coop camera but a reasonable facsimile. I carry both cameras and take the shot twice. The first day I did not do this hence the three day vs two pictures posted. I wonder, will there be a telephone pole (are they technically telephone poles anymore?) in the next shot? Will the hydrant be yellow green or some other color? Oh what suspense and drama. How can any of us stand to wait? One shot a day, that is the deal.
More later
r

27 days of fire plugs?

I made a decision on the Art House Coop camera project. For which they sent me, and others, a disposable camera to take 27 picture of various themes and return it to them. My chosen theme was "27 days of....." and I have chosen 4 weeks of fire plugs. A different fire plug every day.
I suppose on the face of it it may be a bit dullsville. Truth be told I am finding the idea (the execution is yet to be seen) a little charming. Some things just have a strength as a series. That is to say I am hoping that enmasse they tell a story or show something that is overlooked or invisible when you do not see all these photos together. The settings the plugs themselves, their immediate surroundings all different but united. E Pluribus Unum. Anyhow that is how I see it.
so there.
On a side note, where I am from we say "hydrant" not "plug", I have no idea why I chose that word.
r.

Around your hivve

Building for bees has shown me something. Bees are synonymous with repetition.

It isn't like I've been doing nothing. I still see the world. There is a lot to take in.

Taxi and I dunno

I haven't been doing anything, artwise. No painting, no drawing, no doodling nor thinking about it. It feels kind of good. I do not feel the pressure of production or quality. This is not to say it won't come back but It is possible that being an artist or some such thing is just going to cause me grief. Maybe this is just a needed break but I can see the appeal of being one of those people who do not bother with such things. There is more time and it is easier to relax. Wow.
Don't get me wrong, this is not a big deal and i am not trying to name or define what is going on. I just felt the need to comment on the situation as it is so very obvious from this side of it all.

Now to contradict myself. Though this is not the next thing I'll do nor is it on deck but I'd like to do some scenes from "Taxi". I will not get into why I like this show but i really feel like there is a something to be said about the potential of this subject matter. Hopefully these pics speak for themselves. If not ask me about it. I dare you.


Additionally I am in another arthouse coop project. This one is a photo project with a disposable camera I am supposed to send back to them in a month or so. My theme is "27 days of...."
I am not sure what my plan is.
r.

But I like them

I have been busy this last week getting my nebbish on. Nonetheless i dug these and hung them to look at them for a while. I like them. I also think that this is a moment that the only thing to do it to start anew if I want to change them. And Maybe I will. That is the news such as it is.
r.

.. but did I learn anything?

I did mess around with this piece on cardboard. I had a good time and there are certainly aspects of it I think are strong. However on the whole I'd say it was less than good. If I want to keep at it I have to figure out how to tie it all together. In theory there are as few as one element that can package this picture into a well balanced composition. But what is it/ are they????
r.

Sally Forth

I hate working on abstracts. I am intrigued, appreciative and recognize the potential of abstraction. However I hate working on them. The decisions or choices aren’t obvious to me. But you don’t need to plumb my feelings here.

I told myself that whatever little paintings that I had left over from the art walk would become fodder for the exploration of a less literal direction in subject matter. I have effectively started doing this on the big cardboard. I wanted to make it more interesting but also build around (and maintain?) The picture it started on. I have tried before. It had its moments.
I at this point do not know where to go. I can only think that I must make some choices and focus on the composition, balance the colors, the lights and darks, etcetera.
I have tried doing abstract work, here and here,before. I have not been terribly satisfied with it and hope to break away from some tendencies that seem to be reoccurring. What that will entail isn’t clear yet. I will certainly keep you posted but I have no specific intent yet.
r.

Realism

I was trying to decide if there was any ultimate merit in real/naturalistic painting endeavors. Isn't there an inevitable desire and opportunity in veering off to more abstract or conceptual ideas? This seemed true but I realized that in the act of painting there are many way to invent or unearth some tactic to support at the end was a lie as much as a statement or interpretation of something.
For example the contour of a truck hood's front corner. There is no good way to just say "truck hood's front corner", it had to be expressed some less literal way. There are many ways to engage that bit of paint application and in this there are chances to find new and better ways to communicate some idea or feeling.

Wallingford Art Walk

Thanks for checking out my site. I hope you like what you have been seeing. I am sorry I do not have a static site for you too look at. If you are willing you can scroll down through the last couple years, though I do not expect you to.
I am mainly a painter and illustrator. I imagine that like many artists my impetus is born more from a dissatisfaction of my own work than from perfect enjoyment of the craft. So I keep working trying to a) do it better and b) make something that is more than a picture of Batman or a landscape. This is probably more than you want to know.

Since this is your first time here you might want to check out these earlier posts for an idea of what I do.

Movie Scenes
Discuss
Response To No Trace Show
Lyricism Of Bent Nails
More Green Glass

Thank you for any and all interest. If you want to comment say hello or create a dialogue you can write me at reinopower@yahoo.com
r.

over two weeks but......

Its been a few weeks since I've posted. But I have been doing some painting. These are some of the works in progress. I am trying to get a collection of stuff to hang for the Wallingford 1st Wedneday Artwalk. I am just thinking subject matter and quantity and not so much process or more esoteric concepts. So no nit picking or whining today just a "this is what is going on".

Am I wrong about of crayons?

This first image is someone else's work. I am posting it because it fits with today's topic. The person who drew this just was busting out drawings at the table. Its exactly the kind of thing I didn't do when I was their age and don't do now.
I seem to keep going to crayons. Am I wasting my time? Is there an inherent problem with crayons or is it just how they are used. I keep looking for something more stream lined, clean or even crisper than I usually do. Somehow when I am working on something I keeping forgetting what I am shooting for. Not to mention I keep using photos as subjects rather than just sitting at a table in the restaurant and drawing.

Time will tell.
r.

More Random

With the internet again

I have the internet again after a few weeks of being without. This at least allows me to rationalize not posting.
This is a nominal post with random pics.
cheers
r.

sketchbook project

I have been getting some pages filled for the sketchbook project. I still have to bust out a lot of stuff but I am happy with most of the work that I have been doing. I hope to have all the pics for posting as it will be leaving the nest in a couple of weeks. Sometimes i miss work that I've done.
r.