Tuesday, March 30, 2010

Winchester Hallway

10"H by 8"W, on panel. 
(click for enlargement)
 Finished and framed this, it's hanging in the studio while I debate a larger version. I really love painting the convoluted scenes inside the Winchester House, but it's only tangentially connected to my body of work. 

Friday, March 12, 2010

In Progress: Fireplace Scene 1 & 2, Winchester Hallway, and Update

This week I slipped while removing a v-nail on a frame and had to get stitches on my left forearm. It really hasn't caused me much discomfort except that typing irritates it a little more than I'd like.

11"H by 14"W, on panel. 
(click for enlargement) 

 14"H by 11"W, on panel. 
(click for enlargement) 

These paintings are both near completion but I feel like they need something more. I can't help but feel like at this size, I should think of them as studies for larger paintings.

 10"H by 8"W, on panel. 
(click for enlargement) 

Here's a small painting I just started today. The source is a strange and convoluted hallway inside the Winchester Mystery house in San Jose. 

This is the frame that I injured myself on.  I'm so happy with how it looks that I'm posting it here without a proper cropping.

Saturday, March 6, 2010

Trip to San Francisco, and In Progress: Slough II

Taken from the train on the way out of town.

I might use this as a reference for something, even though it's rather blurry I can't decide whether that detracts from the image. It's a recycling depot just south of the San Francisco train station that I managed to glimpse when my camera was in my hand.

Thursday was spent going to galleries in the city, scouting the locations and examining the works they had on display. 49 Geary has a large collection of galleries featuring mid-career artists, and while the exhibits are interesting and definitely worth an entry of their own, the purpose of my visit was to find a gallery willing to represent me. One of the curatorial assistants was especially gracious about my questions and thanked me for looking at the work before asking whether they represented emerging artists- apparently a lot of people who are starting out use more of a "shotgun" approach and drop of submission packets without considering what sort of work the gallery handles. It's likely that I could have been a bit more subtle or planned approach, but many of the galleries on my list are not very forthcoming about how and when submissions are accepted, or if they'll even consider the work of someone just starting out. 

Generally, the reason for that is because the answer is no. I found a few galleries that do, in fact, accept emerging artists, and while they did generally state that they were not in a position to take risks in the current economy, none of them refused to take and look at my CD of work.

18"H by 24"W, on canvas. 
(click for enlargement) 

I've been working on this as a follow-up to a smaller painting, Slough. While the first was commited from a photographic reference with invented color, this newer painting is entirely invented and has been constantly rotated. It's interesting to me how much this new painting resembles the view from an airplane.

Wednesday, March 3, 2010

Revision: The Leavings

24"H by 10"W, on panel. 
(click for enlargement) 

This image is in the process of being reworked. When I began the painting last year, I didn't like the result even before it was finished, so I've kept it in the studio and sought to improve it. Right now it's hanging as you see here, but that is by no means the permanent orientation.

Video Archive: Pair Discarded

I'm posting this here because this video will no longer go on the front page of my site after today. Lately I've wanted to revise my earlier decision that this piece was done and work more on the mattresses and areas behind them.

In Progress: Junction

48"H by 36"W, on panel. 
(click for enlargement)  

Worked another few days on this, turning it periodically on the easel to try to balance the composition. The vivid colors have been dulled and more gray areas added. Carefully selecting points to fully saturate is forcing me to continually reconsider the center of interest in this composition. I'm a little amused that lines have begun to emerge that I did not anticipate in the initial sketch, and I might have never noticed the if the panel hadn't been turned.