It all began with 303 606 1010.
Time time time is about the ritual of checking the time of day. You look at your watch or your phone and see the time. Someone asks you what time it is you have to look again. You looked but didn't remember. You look again.
I started noticing when there was a pattern in the numbers. Repetition. I saw it with the first three times I checked… 303 606 1010.
This book contains the times I noted each time I looked at my iPhone over a period of time.
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.
This was one of the books I was trying to get ready for the show at 110 CHURCH. Most of my work is a ritual. Rhythmic mark-making made in the silence of my studio. I can hear the rhythm of my drawings as I make them. The strike of a pencil, pen, charcoal or other medium makes a distinct sound and so drives the next mark.
With this book I decided to experience drawing without looking. I made each mark by dragging my hand a percieved distance and then pierced the paper with an awl. I did this point by point, row by row, column by column.
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?
A new series of ink drawings. A new size for me. Very interested in the verticallity, how the lines optically push the paper out.
Just started working with them again in November.
Getting work out where it can be seen isn't as easy as it sounds. Chosing where it should be seen is critical to the perception of the viewer.
What happened this past weekend was pretty amazing. I was invited to show my work by and with artists I respect. They have a show and sale every year near the holidays. It's been going on for years. This is the sixteenth. I got my work out there to be seen.
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.
Even without having titles for these three square drawings the mounting has begun. Here's number one using Nori. This is a triptych, mixed media, mostly oil pastel.
Looking forward to have them ready for sale.
