Been spending lots of time in my sketchbooks these days. Back in a sketchbook groove. I couldn't help but draw on the cover of this one. I love drawing with white on black and black on white.
I've been working on a smaller drawing to test a process for my current commission. I've been in the studio for three days and made progress enough to visualize the much larger piece. The rhythm is working and the color patterns work. I can feel the ocean and its undulation.
Now it's time to think about mounting paper or not to make this drawing. The paper as substrate will make drawing on the surface a bit more fluid. I also want to make the marks a bit larger and absorbtion into paper will help the marks dry faster.
After finishing a few small works and curating and hanging two shows I'm finally getting my studio under control for a new commission.
Things would be easier if it stopped raining in my studio but it seems the leak keeps illuding the fixers. Sigh.
Working on new pieces for SEEING RED an open call by Heavy Bubble. I love everything about the title and the color so I decided to participate.
I'm not sure why I just prepared two panels — time to add at least one more. Thiey have been sanded twice and gessoed once. When dry I'll add another coat of gesso. I'm torn about my surface finish dull or shiny. But I always like to apply and sand at least two coats of gesso. I like spending time with prepping the panels it helps me prepare to make something.
My holiday gift of Inktense pencils is great for sketching and creating washes on the road in my sketchbooks. I love the way that I can get drawing marks into a background that includes a wash.
These drawings are testing me — how I can make drawings across the rough finish of this watercolor paper. The pen jumps across the mogals and makes wonderful breaks in my lines. I'm embracing the surprise of these leaps and being as tenacious as I can to make the lines continue.
This drawing is a work in progress. I'm waiting to see what comes next.
Yesterday went to see the Agnes Martin show before it closed. It was sublime. Only took a couple pics because I was in a be here now state of mind. The alcoves of the Rotunda were like little chapels to one or two pieces. The 72 inch square pieces were solitary while the 60 inch squares were paired. The pairings were very thoughtful.
The written image. presents a thought provoking array of works which, in a variety of ways, visually examine the symbolic and conceptual complexity of words and language. The exhibition has been skillfully curated by Susanna Gold, and the presentation in her bright Bryn Mawr home, which spans a series of rooms, is refreshingly pleasant.
It's a wonderful thing having your work documented by a professional. The managing of light so that it is even and soft showing your work as it should be seen.
I know that my work has very subtle marks and value changes that are difficult to see in photographs. That's why it is so important to have a professional photograph my work. It's also important for that photographer to capture the spirit of the work and manage what the camera sees.
Now that this drawing is photographed I can work on the hardware to install it at the collectors home. Photographing that will be next.
In the studio working out the details for how to hang my completed commission. Hanging cradled panels flush to a wall is a challenge. There are many ways to do it temporarily for an exhibition; but to hang perminately requires a special solution based on the location.
For this location and situation I am creating a type of shelf the art will sit on and be anchored to with recessed screws.
The solution came to me over a great latte and some quiet studio talk. Now to prototype the solution.