Genesis

Where did we come from? Why are we here? These are universal questions that we humans have pondered throughout or existence. I find it interesting that every civilization has an accepted story/myth/theory of creation to answer these questions. ‘Genesis’ is my interpretation of one of these creation stories based in the Judeo-Christian belief. Through a combination of organic and inorganic line, the work maintains a balance between chaos and disorder as found in nature.

The work is done using pigment sticks on Masonite boards. The pigment sticks provide versatility in application and allow for color mixing and movement long after being applied to the boards. The inherent traits of the medium can be seen in the biblical creation story itself with the simplicity of its description and division into relatively short ‘days’ misrepresents the actual length of the process.

The work also relies heavily on color to portray each ‘day’ as a piece of the whole. The first panel is a chaotic swirl and blending of spectral color. The chaos extends into the second panel but with a reduced pallet of reds and yellows. The use of limited color continues through the work with a drastic change on the seventh and eighth panels where the division of color is dramatic and distinct to signify the totality of creation.

The First Day

The First Day

The second panel is done. It was a bit tricky but Tamie helped me see it through. ‘Let there be light’ has sparked a few ideas for future work. I can almost see (in my head) the blending of my realist side and my abstract side. I’m anxious to get started on it. I think it may be something artistically new or at least something not done to the level I’m envisioning in quite some time.
It’s time to step out of the box.

Genesis

It has begun.

I’ve been rolling this idea around in my head for almost a year. The finished work will tell the story of creation, Genesis chapter 1, through abstract form and color. I am using pigment sticks on 8 panels of 2′x2′ masonite.
The first panel is titled ‘In the beginning…’. Its movement and shape represent the chaos present before creation but the piece also contains the color foundations that will be used in future panels.

I digress…

IKEA

I don’t understand the drawing power of this place. Thousands of people funnel through looking for what? That perfectly special item that will finally give their life meaning for under 50 bucks, unlikely. I’ve seen a hundred baskets in the last five minutes filled with the same things at Walmart: pans, pillows, sheets.
The men here look like poor lost souls doomed to purgatory; a meaningless limbo with no end in sight. The women, on the other hand move with a purposeful grace as if this complex of mixed odds and ends were a mere extension of their subconscious ancient lizard brain.
IKEA is capitalist genius. It frightens me with its sinister design. It controls the minds and wallets of its victims with its innocent blue-gold banner of efficient Swedish housewares and tiny functional spaces that the American mind can’t even comprehend as necessities of the non-U.S. world.
I applaud you, IKEA. You have successfully created gluttony through minimalism.
The contradiction is staggering.

Art Trip

The other day, Tamie and I went to the Conduit Gallery in Dallas to see Matt Clark’s stuff. While there, we met Joel Sampson, another artist showing at the gallery. He was there photographing his work, Kinetic Percussion. I can only describe it as cool and noisy. YouTube it if you’re interested.

Talking to Joel Samson and hearing why he does what he does, his art makes perfect sense. He combines everything that interests him: music, electronics, and percussion.

Does my art reflect my interests?
Hmm…

My Art

Graphite is my preference. Pencil on paper allows me the most control. My art is dependent on a certain amount of control. Within the work, there is a strong focus on detail which allows me the opportunity to accurately capture and describe my imagined alternate realities. The simple and immediate act of drawing fosters the viewer’s acceptance of the illusion. The illusion is that something real has been created possessing not only depth and movement, but a mood. My art forces the viewer to disregard the reality of marks on paper and see past the surface of what is real.

Why I Make Art

Blind Spot
I see sound
Smells have color
Pain is white
Music looks better in the dark
I see too much
Tunnel Vision
I make art
To capture a moment
Capture a mood
Preserve a feeling
Sculpt an atmosphere, intimate and personal
To make my vision real

Artist Statement

Where is my artistic voice?
Today, I met with what I would describe as my mentor. I’m not a fan of such formality, so I’ll call him a friend. He gave me some advice on forming an artist statement.
Focus on what interests me and what I want to say.
I have been putting much thought into what I want my art to be, and look like, but I’ve been restricting myself to the visual. I need to move past the idea that my work needs to demonstrate technical ability and mastery of the medium. Skill does not equal art. Art communicates feelings, ideas, emotions, moods, and all those other intangible concepts. When it works, something beautiful is created.
So do I make art or am I just showing off? I believe I am making art. Sometimes, it’s the only way for me to express myself and bypass my self-imposed restrictions.
In writing this post I’m beginning to understand. The first step in writing an artist statement is accepting the unapologetic truth – I am an artist, free to say anything.

Ink

I’m beginning to remember why I liked using pens. It forces you to commit to the line and leaves all your mistakes in the open which adds to the ‘expressive’ nature of the piece. It’s also easy to get good contrast because the darks are much easier to get than with graphite.
Oh, it’s been quite some time since I’ve been comfortable with a pen, but it feels good; a real boost of confidence.
Bring on the Sharpees!

Charcoal

I have a love/hate relationship with charcoal. It’s messy, moves too easy, hard to erase, falls down the page, and the pieces keep breaking on me. But it covers so much space quickly, it’s very expressive, and is so, so black. I suppose charcoal and I will have to maintain a certain begrudging respect…for now.