Painting, Abstract and Representational Artwork, Landscapes

Edited 11/10/20

Some artists stick to an idea or way of working over the course of their lives. Managing to make a huge body of work that has a thread of relates somehow. I used to think I would not have that continuity but that is just negative thinking and comparing my life and situation to others. Or listening to what someone with a degree has declared is the definition of success. My work and life has been the other, straddling representational and abstract ideas. With constant voices in my head telling me, Do one thing well. Instead of the Reality that many have had long careers having varied visions. Today I have accepted that my vision and work may not be the same clear path but that does not make my journey any less interesting. To the contrary, I love to draw and find color relationships very satisfying and the connection to my abstract and representational work feels closer today than in the past, maybe just maturity, or acceptance. And run-on sentences are the thing.

MP, November 2016, oil on canvas, 9x12.

MP, Interior at Madoo, 11/19/16, charcoal on paper, 24"x18",  Madoo Paints taught by Eric Dever #madooconservancy

MP, Yucca from memory, November 2016, acrylic on paper, 14x11

Paintings, Series, Groups, Suites, Works on Paper

Edited 11/10/20

Part of my anxiety in the studio is the chaos. Piles of work, supplies and things everywhere. I've been productive and busy in all aspects of life, things get neglected. Yesterday after spending most of the day at the computer I wanted to get to the studio but felt depleted.  Bingo! Clean! I began by clearing my work table, immediately a weight was lifted. Not the first time, won't be the last. When you make shit, Shit piles up. So now entering my favorite place is not a nervous moment but something to anticipate. 

One consideration and reason to keep things in order is that I go back and forth from water based to solvent based mediums.  Keeping materials separate, even with separate workstations is important. I've been lucky so far but I have pushed the boundaries of my attention span. I recall standing with brush in hand asking myself, Is this oil or acrylic?  Not life threatening but for someone craving order, okay a control freak...an issue. 

A new, unfinished group that was made horizontally. You get to view vertically. 

MP, Space Series, 2016, 1 of 5, acrylic on paper, 11x14

Space Series, 2016, 2 of 5, acrylic on paper, 11x14

Space Series, 2016, 3 of 5, acrylic on paper, 11x14

Space Series, 2016, 4 of 5, acrylic on paper, 11x14

Space Series, 2016, 5 of 5, acrylic on paper, 11x14

This series is one of a few groups of five that I've made recently. The others are finished this one will get more attention but the feeling is there.

Refresh, Past Ideas Revisited, Charcoal Drawing, Acrylic Paintings

 Edited 11/10/20

The desire to incorporate imagery has returned. With many influences I have begun some explorations, close-ups of indoor plants. The workshop I recently attended played a part in speeding up this process but my history shows that I always return to nature. Each time I am reminded of how difficult drawing is, pushing my boundaries and limitations. Which is where the fun is for sure, maybe not in the moment but certainly later. 

One observation is the need to accept that the two kinds of work, abstract and representational need different approaches. A more studied result requires me to slow down, even if just for the preparatory work or drawings, to increase my vocabulary. The goal is not a Botanical Study but solid, interesting compositions with contrast. 

MP, Phase 1, 11/07/16, Explorations on paper, 14x11

MP, Phase 2, 11/07/16, charcoal, graphite, acrylic on paper, 14x11

MP, Phase 3, 11/07/16, charcoal, graphite and acrylic on paper, 14x11

MP, Phase 2, detail

Small Works, Diptychs, Oil Paintings 9x12, 14x11

Edited 11/10/20 Shown below are three diptychs, an approach that I return to frequently.

I am currently making a series of small paintings, 11"x14" and 9"x12" some of which have been solid color. Nothing is written in stone which I like but right now. Groups of diptychs coming together, supporting each other.

MP, Diptych 1, 2016, oil on canvas, (2) 9x12s

MP, Diptych 2, 2016, oil on canvas, (2)9x12s

MP, Diptych 3, 2016, oil on canvas, (2)9x12s

Moving Forward, Oil Paintings, Abstract Artwork

Edited 11/10/20 The edit button makes me very happy.

The slightest thing can stop me in my tracks and freeze me in the studio. A new focus resolves the problem, realizing there are always options. Another solution for resuming work is stepping away, and returning fresh, which may reveal what was not previously obvious.

Try other things, If you normally use thin paint and a small brush, squeeze out the whole tube and use a big brush. If you use reference material, try putting the reference down and use your imagination. If you work sitting down, stand up and use your whole body. Cut something up, add a collage element. Copy something you love, even your own. 

There are many things one can do to get out of a rut, the best is something. 

MP, Madoo Suite, Interior, 2016, acrylic on paper, 14x11

MP, Madoo Suite, 2016, detail, (4) 14x11, acrylic on canvas

This group of four canvases were made during the second part of a recent workshop with Eric Dever at Madoo Conservancy. Working in the home of painter Robert Dash, Eric Dever suggested different ways of looking, steps that can assist the artist in moving forward. 

Oil Painting, Works on Paper

Edited 11/10/20

This past July I gave a painting workshop to a group of 10-12 year old local school kids. They were motivated and wonderful, there to paint and it was great. I would like to do it again but I see that I am a painter and take my hat off to good teachers. 

More recently I began a brief, intensive workshop with a local painter. Helping me to look at things fresh. In a brief experience like this, my goal is to stay in the moment and absorb all. 

Painting is usually a solitary, alone in the studio. This workshop opportunity and a desire to interact with others creatively, coincided. Someone who for most of their life questioned their abilities reaches a point where they trust what they know and want more...my universe is expanding. 

Of the three works below the bottom painting titled Diptych was made in the workshop, 'Madoo Paints' taught by Eric Dever. The top two abstracts were made in the studio. 

MP, Explorations, 2016, oil on canvas, 14"X11"

MP, Abstract Landscape, Feb, 2016, gouache on paper, 7"x10" 

MP, Diptych, 10/22/16, Madoo Paints workshop, acrylic on canvas, (2) 14"X11" 

Cataloging Work, Work on Paper, Oil Paintings, Artists Books

Edited 11/10/20 This “helpful” bit of advice is funny and sweet.

With a growing group of work on paper, cataloging is critical. For social media and other forms of marketing and most of us do it ourselves. Organization is key for a smooth photo shoot. The following guidelines work well for me. 

Clean hands.

Full charge, camera or phone. 

Paper and pencil for notes, tape, ruler.

Clearing a large table or workspace is advisable for groups of work. Water bottles w/ lids good, Coffee separate table. 

Setting up location and lighting to shoot  work preparing for different scales and orientations, horizontal, vertical format is helpful with multiples of the same size.

I try to shoot three good images of each work editing as I go, deleting bad shots. This approach makes editing at a later date simpler as I've already deleted the bad. 

My work table.  

Keeping the workspace organized avoiding confusion is key to a smooth photo shoot. I am always tweaking the process trying things that make sense and save time. 

If anyone has any advice I'm all 👂s. 

Preparations For Studio Visits, Paintings, Drawings

Edited 11/10/20

Having had Studio Visits that I have felt, shall we say less than prepared for, after the fact I try to be as ready as possible. 

If a Dealer or Interior Designer is bringing someone there is no discussion of money. My responsibility is to clear the deck and show what they came to see, keeping it simple. 

If I am showing work independent of a Dealer, I need to be super organized. With all the work in my studio it is easy to be distracted so organization is key. The following are my prep guidelines.

1. Water or some refreshment if desired.  

2. Have a select group to view, clearing away clutter. You can always show more if they desire. 

3. Image List with pricing and info. 

4. Bio, cards and Info printed.

5. Guest Book. Request that they sign in with email. 

Put yourself in the shoes of a person visiting a new place imagine how they feel. The idea is to be welcoming and make the visitor comfortable. They already like your work presumably or they wouldn't be there. 

This weekend September 17 & 18th I am participating in the Artist Alliance of East Hampton (AAEH) 2016 Open Studio Tour. Most of what I am offering will be affordable small works on paper. With a large selection to choose from, each work in a cellophane sleeve. The different sizes: 4x5, 5x7, 7x10 and 11x14 will be displayed/priced in a manner easy to view, flip through.

Also available will be a selection of mid-size work on canvas, stretched  + un-stretched to peruse and large format work, reduced from gallery pricing. 

Finding Inspiration.

Creatively speaking, there are times when I stare into nothingness wondering what next.  Luckily they are few and far in between. For me it seems there are always things going on in the studio, work to continue.  Leaving on a positive note makes for an inviting place to resume work. 

When there is a struggle small work on paper is a great ice breaker. Moving color around can immediately free me and bring a smile. The origins of Inspiration may vary but one constant as simplistic as it may seem is Color. 

5x7, 2016, gouache on paper

Selective Memory?

After a friend recalled bullying experiences He has endured through the years I neglected to remember until hours later insidents in my life.

In my late teens studying electro-mechanical drafting a classmate routinely, quietly verbally assaulted me and one day waited till just the right moment to slam a door in my face. That completely shocked and hurt me so much so that I finally reported him. The Instructor sympathized but made me feel that I was on my own to deal with it, telling me to be strong. Soon the bully wanted to be my friend. I accepted his apology but did not encourage the fiendship. 

Amazed that I'd forgotten that period. Growing up in liberal Rhode Island I had an easy time of being gay, for the most part. The first in my family to go to a public high school where I was voted Most Popular....I saw myself as someone on the outside looking in. Not much has changed. 

We're still here! With John, Summer 2016.

What A Great Day.

Have been away from my blog for a while, not intentionally just caught up in life and forget to post. Not away from social media, quite the contrary.  I miss  blogging and the pressure of saying things I might regret and the ever present challenge of not sounding dumb. Imagine if everyone just let it rip without editing, it might be better...but maybe not. Keeping it about art is infinitely safer for this attention who're. We will let autocorrect have the last word...this time. 

This is a new painting that I'm still playing with. It's 43"x48".  

I Can't Help But Wonder

Imagine a world without all the violence.

Mark Perry, Dark Earth, 2016, oil on canvas, 94"x92" 

Positive Energy

Three from a group of six from 2014 that are available. 

Positive Energy 1, 2014, oil on wood, 22"x22" 

Positive Energy 2, 2014, oil on wood, 22"x22" 

Positive Energy 3, 2014, oil on wood, 22"x22" 

Paintings, Small works, watercolor.

Edited 11/13/20

Lately I've been using watercolor and gouache on paper. It is easier to deal with when away from the studio which has been the case. A less toxic medium, using water as opposed to solvents and not having to wear gloves is a nice break. One similarity with the two mediums would be my approach, traditional watercolor technique working light to dark. I usually start with a light ground and then throw the rules out with both mediums. Sound practice is important from an archival standpoint.

Imaginary country landscape, 2016, watercolor on paper, 7"x10"  

These two images show my simple technique rather well. The immediacy of watercolor is a definite attraction. 

Abstract ideas, 2016, watercolor on paper, 7"x10",  

Watercolor, working abstractly.

Edited 11/13/20

Currently I am making small abstract landscape works on paper using watercolor. The rules of the medium, working light to dark do not always apply. My main medium is oil and one might say I handle both mediums similarly. As a young person I looked at watermarks as a sign of failure in my watercolor work. Today I embrace where ever the paint wishes to travel and dry. Which brings me to one last thought about the medium. You don't know what you've got till it is dry. Usually for me that is the next morning. Like receiving a surprise I love revisiting the work. 

Untitled Landscape 1, 2016, watercolor on paper, 7"x10" 

detail, 2016, watercolor on paper, 7"x10",  

Art on Paper 2016, Check It Out! work on paper, painntings →

Edited 11/10/20.

That Art on Paper Fair was a good one, not for me but a nice looking Fair. The best p[art was I did nothing but the work! Of all the fairs I’ve been involved with the first two were the only that resulted in sales. I don’t jump to get involved with them any more. To much effort, so little return.

I am pleased to have work included in the Lawrence Fine Art, booth of the Art on Paper Fair, located at Pier 36 in NYC. My Artist Book seen below can be viewed at the fair. 

Artist Book, clam-shell box containing 50 works on paper. 11"x14" each. Priced individually. 

The group seen below are part of the box. There are other small groups with the box containing mainly individual paintings, each in a protective cellophane envelope for easy viewing. 

Earth Series, (group of four) 2013, oil on prepared paper, 11"x14" each

The painting below, Blue Variations, 2004, oil on prepared paper, 14"x11" is one of four paintings from 2004 contained in the book. 

Blue Variations, 2004, oil on prepared paper, 14"x11"  

The painting below titled Ocean is also included in the Artist Book. 

Ocean, 2013, oil on prepared paper, 11"x14"  

This last image titled Ocean, came from a group of explorations with full weighted color. It was one of my larger groups of oil on paper to date. The smooth paper surface and accelerated drying time are advantages I had not considered till then. 

I am attending the opening night reception, I hope to meet You there! 

Work on paper, Explorations with watercolor

Edited 11/13/20

Working abstractly can feel like throwing things in the air and seeing where it lands. The beginning of the process especially, then things happen and more deliberate decisions are made. I find this process very exciting and scary at the same time.

Explorations 1, 2016, watercolor on card stock, 7"x7"  

In the past, I avoided letting my paintings look like a pattern. I have fond memories of my six years in the garment district. Today I embrace the possibility that the work may take on aspects of pattern.

Explorations 2, 2016, watercolor on card stock, 7"x7"

Explorations 3, Landscape, 2016, watercolor on card stock, 7"x7" 

This last one immediately felt like a landscape. I like that approach to painting, the palette suggesting the subject.

Paintings on the wall, Untitled, Pink. Oil Paintings

This post edited 11/10/20.

Some paintings happen easily some fraught with anxiety. This one brought up more than the average amount of doubt. Luckily it doesn't seem like those feelings come through. 

Untitled, Pink, detail, 2015, oil on canvas, 26"x24" 

So much of my explorations feel unchartered. Although I look to Art History and present day, in the studio I'm alone. Like all who have preceded me.

I've made so many paintings that felt New to me then discovered they were a style strongly associated with a famous artist or group. So you put those paintings aside and move on.

From the Archive, details of two small works.

These two details from different paintings, are part of a group of five small works, each 21"x19"...

STUDIO NOTE: My studio practice involves working with canvas rolls of varying widths. For this group I used a roll of 96" wide canvas. Stapling the canvas over 96"x96" panels, I then decide what the painting dimensions will be. It works out that one 96"x96" piece devides up to  sixteen, 20"x20" paintings. 

Abstract No. 1, detail, 2012, oil on canvas, 21"x19" 

...The paintings in their first stages were dark with an all over jade feeling. When I photographed them I felt they lacked luster and needed a punch.

Abstract No. 2, detail, 2012, oil on canvas, 21"x19" 

Adding jewel tones and varnish made them sing. It amazes me that a group of colors planned or randomly placed can evoke a landscape. Paint is powerful. 

Paintings on the wall, Traveling the landscape. Oil Paintings

This post edited 11/10/20. This horizontal painting is currently available through cade@cadetompkinsprojects.com

Until a painting leaves the studio it's fair game for being re-worked. This painting that is horizontally orientated is one that was re-visited a year later and I feel made stronger. 

Traveling the landscape, 2015, oil on canvas, 38"x72"

A large studio might explain my work getting larger over the years. Like living spaces, the more room the more stuff you accumulate? They don't seem large till the time comes to stretch and install, then reality seeps in.  

Large work does excite me. (Sonia Sotomayor just accepted my fb friend request) I love diving in or pondering the first mark it's all scary and exciting at the same time. Luckily my sales to large works ratio is not bad which helps me justify making monsters.

Recently, working small format I've felt the intimate power of that scale. Being able to travel from one end of the paper to the other in seconds and focus on all of it at the same time. Large, small it's all good and I've found one feeds the other.