Wednesday, October 21, 2015


09-24-2015 is the title of the newest painting of mine. The second using Fluorescent paint for the chassis. This painting measuring 66 X 41.5 Inches is what has become one of my favorite sizes of paintings. It's right between Institutional size and residential size. Just easy enough to move around on my own but also being just bigger than a regular human. Giving one the sense of calling it "Human Sized" and being correct. Fluorescent Red chassis really makes the whole painting vibrate, playing off the white of the yarn and the play of white over yellow acrylic paint. So much to look at visually, the variations of play upon the eye are almost literally endless. There are so many viewpoints to take into account when viewing a painting like this. I even lay on the floor and look from as far down as I can get, compounded with Dirk Serries Microphonics music, the sensation is just one of visual bliss to me. This is the first painting I have completed since June and I must say Thank You to all that helped keep me going in this time. Here's to looking forward to the future. All my best to you!

And for a little bit of Dirks music...

Saturday, October 3, 2015

Stephen Maine @ Hionas Gallery

I was granted the opportunity to visit the season openers for the NY art world last week. In my personal opinion Stephen Maine at Hionas was THE exhibition to see. The sublime is still around and Maine is clearly finding it in these paintings. Unfortunately I am late on my writing about this wonderful exhibition as it is coming down very very soon. If I were living in the NYC area, I would have been down to see these paintings at least once a week. Truly a painter who deserves a lot more attention, and hopefully this exhibition is going to do just that. Seeing the two large format paintings in the front room, last few pics in this group, you are really taken in by them. They really push themselves onto you the viewer. Almost all large format paintings have some sense of power to them, but not all of them give off the sensation of desiring to jump into them.

Check it out here. The photos can be clicked and enlarged.

The two paintings in the front room, below. I am looking forward to seeing how Maine pushes his future paintings and how the extra space opens them up to all kinds of possibilities. This exhibition deserves to be witnessed in person.


Wednesday, August 19, 2015

A Dialog on Painting with Michael Bravo

It was about two weeks ago with a friend, Linguist Michael Bravo came to visit. We got to talking about my work and what you are about to experience is the culmination of that day, along with many views into my work you may not have seen before. This is in some ways, the only way I can reach out to those who have not yet seen my paintings in person, and to give them some of the views of my work that I get to enjoy everyday. There are so many wonderful views in these paintings and this is my only way of sharing them with you. Until we can get you to see them in person.

Enjoy. BTW, the audio was recorded with a Zoom H4n which is kind of binural so you'll hear me more in one side of your speakers and Michael in the other side. It's quite the amazing device for recording. It's what i've used in my interviews since day one.



Friday, July 3, 2015

Diary for July 3rd.

I've been working for over a year now on this method of using acrylic yarn as my substrate to paint upon. And the more I work on these, the more I love working on them. So many opportunities to try new things, and I just keep learning and finding out about more methods to use to create with. 

Here's the newest chassis I am working on. Yes that is Fluorescent red paint for the chassis. I got the idea from a good friend who was wondering what my work would look like if I used some day-glo colors. Another friend told me to be careful of using day-glo's as they become addictive quickly. I can see why. They just vibrate in your mind.

This painting is 66 X 41.5 Inches and when finished will have a white texture upon it. I should have it done in a week or so. But with the holiday, it always ends up pushing things back a day or three. 

Just thought I'd let you know what is going on in my world. Hope things are going well in yours.

I thought today about beginning a website specifically for my writing about exhibitions, but that idea didn't last long. I don't want them to be separate from me, and I feel this page here is a direct reflection of myself. I love talking about painting, and I hope you enjoy reading about what I am seeing. I hope to be heading to NYC this month for another round, but we'll see how that goes. If not in July, than August will be kind of a bust too because almost all the galleries are shut down in August for vacation. There are a few choice exhibitions I would like to see that are up right now. The one that sticks in my mind the most right now is of De Wain Valentine at David Zwirner. I'd also like to go take another look at the Peter Reginato show I saw last time I was in town. We'll see what the future holds. :D Thinking positive!


Tuesday, June 9, 2015

Harold Ancart at C-l-e-a-r-i-n-g Brooklyn NY

My first trip, highly anticipated, to C-l-e-a-r-i-n-g in Bushwick section of Brooklyn. I have been wanting to visit their gallery since first learning about the gallery a little over a year ago. I originally found out about C-l-e-a-r-i-n-g through an acquaintance of mine whom I met at the same time of Harold Ancart's first show at Casey Kaplan. It was one of those odd connections I made that day. I didn't get a whole lot out of the first viewing. But once they were in my mind, they stayed. Something about them was playing in my mind. I think now, looking back, it might have been Ancart's use of oil stick, and jagged edges, that made me eventually think of Clyfford Still and how he seemed to make paintings that metaphorically wanted to destroy those that would dare view it.

Thankfully I've spent a lot of time of their website, checking out the exhibitions as they go by one by one. So I knew easily when walking toward the gallery that I had found it. Even the last space was incognito about telling you where they were. This space also has no markings that tell you it's a gallery, even the exterior paint scheme from the last tenant has been kept the same. The only way you can tell is by opening the door and getting that sense of deep quiet that in NYC you can only seem to get inside a gallery.

The inner sanctum of the gallery was hung a series of very sparse paintings. Usually Ancart only paints on paper, which I understand makes it much easier for him to work with, the pressure of the oil stick would consistently get in the way of canvas stretched on a chassis, but this particular exhibition is different. As Ancart is working so big, that the paper can't keep up with him. So to accomplish these works, the canvas was stretched onto wood backed panels, which in turn make for very heavy materials. You definitely need an assistant to move these babies around with. Each of the five paintings were 113 x 81 inches (287.5 x 206 cm) which just seemed monumental to my sensibilities. Everything about them was powerful. You can really see the hand and eye used to create them.

The only smaller work in the exhibition. So many ways to look upon this and project your own ideals. I will leave my ideas to myself and allow you to use your own.

The first in the series of five large format paintings in the gallery.



Number four. I only got this one in a shot with number five.

The Clyfford Still ideas for me really began flowing with this painting.

And the number five of these monumental landscapes.

The circular gestures in this painting give me the sense of warping space.

The idea that I got from a few painting mentors over time was always one painting per wall. With this exhibition it's almost one painting per room. Which really gives you the viewer a lot of wonderful space to singularly take in each work. This exhibition is a real meditation on painting, plenty of MA to go around here. In a direct quote from the artist... “I like to envision exhibits not so much as a succession of objects to be looked at, but as tensions created between the various zones of emptiness.”

Seeing this single painting in the back room now gives me the sense of leaving the planet where the previous six paintings were located. 
A jagged world where life blooms in bursts of energy.

I hope you enjoyed my survey of Harold Ancart at C-L-E-A-R-I-N-G and will make the time to witness it for yourself.

The exhibition runs May 12, 2015 - July 12, 2015 so there is still plenty of time to take in the work for yourself. But whatever you do. Don't dive in and then dash out. This is a show that rewards time well spent.