It is always difficult to make new work in the aftermath of hanging a show. The adrenalin has fallen, the body wants to sleep and the head is full of new ideas. It's just the hands that are unwilling. But now three weeks later I'm ready to get back to drawing. My head is full of ideas not of drawings but of marks I want to make and the processes I look forward to experiencing. It will be more experimentation with ink and tools that may or may not be unexpected.
thinking out loud
I made this drawing after the splat.
I had finished the splat drawing but I really felt as though I needed to make another. From previous experience I figured I might be able to make another small drawing in the three or more hours I had left in my studio day.
Making this drawing actually surprised me. My ability to maintain an even tempo and distance was quite easy. I am really please with what it turned out to be.
I've made several small drawings rendering repetitive marks to create patterns. These drawings are part of continuing experimentation on rhythms created by the repititive marks using tools that must be dipped or filled with limited amounts of pigment.
The changes in the marks are a direct result of the depletion of the pigment. I'm working on both large and small drawings. Looking forward to making more.
A nice picture of my most recent aquisition for making marks. This is the first of these markers that i have purchased. I've chosen a green that feels like spring and I'm going to experiment. The ink is acrylic and the pump action refills the nib. I'll take it through the paces on numerous surfaces.
I'm looking forward to getting to know what the marker can do. If it responds as I expect I'll try buying a couple larger nibs.
Stopped into Rosenfeld Gallery yesterday to see Donna's new work. It's really a shift. Congrats Donna.
Check out the show.
Discovered this image yesterday. Question is, where is this drawing?
I have no idea where it might have wandered off to. I'm going to look in the flatfiles and see what rediscoveries I can make.
Often a drawing stops itself. I 'll put it in a drawer and pull it out again later. This hasn't come back out from where ever it may be. It reminded me about some patterns I had been experimenting with as the first layer of the drawing. Time to make another visit to that place. Just not quite yet. There are some winter things calling to me.
A couple older Rare Earth pieces in Amy Ralston's Studio this past weekend. Yep they are big and they are still available. — with Amy Ralston at Heron Studios 16th Annual Open House & Sale.
Taking these out of storage made me think about framing again. I think that if they were framed I could at least get them shown. I think they would be quite handsome. They are a couple of my largest drawings.
Contact me if you are interested.
I'm planning on making some big art.
Maybe directly painting or maybe wheatpaste. This is the space I'm looking to draw on. Testing some ideas in a SketchUp file.
What would a drawingaday look like this big? Or maybe I should make a whiteboard and draw something different every once in a while?
Autumn in the mountains is a technicolor dream.
Recently spent a few days up North in Kingston and took a road trip to Storm King. Two favs one is this wall which I followed across the park. Sometimes straight as an arrow, others serpentine, yet others out of sight.
I want to make some drawings that make me feel like that — bisecting a field.
Sol LeWitt: A Wall Drawing Retrospective comprises 105 of LeWitt’s large-scale wall drawings, spanning the artist’s career from 1969 to 2007. These occupy nearly an acre of specially built interior walls that have been installed—per LeWitt’s own specifications—over three stories of a historic mill building situated at the heart of MASS MoCA’s campus.