Saturday, April 4, 2020

03-07-2020 and Color Choices.

My love of Motorcycles might not look like it has anything to do with this painting. But you'd be misinformed. I've been mixing up different color combinations that don't resemble the natural colors and waiting for the right moment to use them. This was one of those moments. It looks like brown, but it's not brown. It's a strangely mixed color that began with blue and silver, then orange, then violet, then who knows what. What became of that developing color is what you see here, I don't have a name for the color, it's definitely a brownish-violet but looks so good when you see it in natural lighting situations. The way I mix colors is many times the result of just looking at this or that. This time it came from a viewing of the Discovery Channel TV Show called Biker Build Off. This particular episode was showing work from a company in South Dakota with designer Michael Prugh. Michael likes his motorcycles to have non-standard colors for his designs, and watching him gave me the desire to make a color that no one else has. His choice of colors mixed with silvers really gives the color a metallic feel and that's what I was going for with this painting. You can see more of his work on the episode here you can see the color he chose here. Open the images up and see the details that are within.

03-07-2020
22 X 16 IN
55.88 X 40.64 CM
Acrylic on Acrylic Yarn and Poly Rope on Painted Wood Chassis.





Wednesday, March 18, 2020

03-05-2020

It's been a while that I have been working on this new white painting finished on 03-05-2020. 72 X 52 Inches has become one of my favorite sizes for my paintings. Just big enough to be bigger than I, but not too big that it's a pain to move around. I finally made the choice as I was making the chassis for this painting that I would keep my chassis thickness the same through all the new work as it will all be made with the 1.5 IN square pine and poplar stock. It allows the chassis to be more than just the thing the painting sits in front of, but in my work the chassis is an entire part of the painting, not hidden from view. And this way it stays right in your field of view so it's an immediate part of the painting and not seen as an afterthought. I usually think about the bracing as the painting is being made. I don't go off previous drawings, I simply make it as it comes. I do know now that I will continue to make more chassis like this and seeing how I can grow it for the future. The rest is for you to see in person and enjoy! Right click on the images and see how far in you can zoom. There's plenty to see and take in.




And now for the details...








You can really see the left side details quite well here. You can see the layering of the poly ropes. There are four layers of wrapping of the large poly rope in some places.




And some details of the inner bottom of the painting.


And some details of the inner top of the painting.

Hope you enjoy. @jeffreymcollins and don't forget Saatchi Art where you can buy online.

Monday, March 9, 2020

Art Writing (Frederic Matys Thursz)

I have many friends asking me about how I became more interested in the desire to write artist statements. While I don't feel that I am truly great at it, I do know a few wonderful artists who are also great writers, and I go from them and eventually found myself in my writing which I hope you will do also.

One of the most important pieces of art writing I have found is the piece below. It was written by an artist most don't know of unless you are really interested in what is called RADICAL PAINTING. It's also called Concrete Painting, or Color Based Painting. There are so many names. But what is important is the painter and their paintings. This wonderful gent was known on earth as Frederic Matys Thursz. One of the main things that gets me so hooked on this essay is how your mind immediately finds yourself in Leger's studio looking around as he did. It's very visual writing and it really got me more interested in finding writers that took on the task of writing about art in this way and not the typical jargon.

A few links to help you learn about this artist.

https://www.nytimes.com/1992/07/10/obituaries/frederic-matys-thursz-abstract-painter-62.html

https://en.wikipedia.org/wiki/Frederic_Matys_Thursz

https://www.artsy.net/show/jeff-lincoln-art-plus-design-frederic-matys-thursz-the-light-within-the-late-work-1980-1992#!

Please open these images up and save them to your hard drive or you can open them in a new tab and read them that way. Unless you've got super good eyes and can just read em here like this. 





Thursz has a longstanding place in my mind since the first time I walked into Jan Maiden Fine Art in Columbus Ohio. The newspaper here, The Columbus Dispatch the week before did a big story about this exhibition in their Arts section. And having been a big Rothko and Color Painting fan, when I saw this review I knew it had something for me. When you walk through the door the first painting you are confronted with was a big Thursz in a wonderful shade of violet. Thankfully there were two paintings by Thursz in the exhibition, if only I had won the lotto during that show I would have bought both of his paintings. Along with half the rest of the show. The exhibition was called Color-Based Paining (The Root of the Actual) and as I later found out was curated by Joseph Marioni who tended to curate a number of shows but never put on the marquee that it was curated by him. I liked that idea. It also exhibited a number of first time Ohio showings for most of the included. Peter Tollens, Rudolf de Crignis, Ingo Meller, Phil Sims, Ulrich Wellmann and Joseph Hughes. The Marioni paintings were kind of the star of the show since he was included at a big solo exhibition of his at the Columbus Museum of Art. They did a marvelous exhibition of his there that I still kick myself for not visiting more. Heck I went to this gallery each weekend it was up for a couple hours. Most people spend 10-15 minutes in a gallery. I was spending 2+ hours each Saturday. By doing so I got to meet a few other fans too and even got to hear the owner turn down a sale of some kid whose parents were going to buy him an $18,000 painting for his investment. I thought that was funny and sad at the same time, cause I sure wasn't able to do things like that. I certainly wished I could. But I ended up spending many days and weeks hanging out with The Painter at his homes, which was wonderful.
After the first 30 minutes of being in the gallery, I had barely got past the third painting in the show which belonged to de Crignis, a wonderful monochrome painter from Switzerland who had developed a style of layering glazes after glazes to create a surface painting that truly had a glow unto it. As I was investigating it, Jan's husband came into the gallery, said hello and immediately engaged into a conversation with me about these. He had such a funny story about de Crignis, he said in all his years of visiting artist studios, he never was in a studio so clean as Rudolf's. He laughed and said it was spotless, so much so that you'd have no problem sitting on the floor without repercussion that you'd end up with paint on your clothes.

I haven't mentioned the Thursz paintings in the gallery. I should since they had such an effect and affect on me and my painting as it was developing. The thing that I had never seen before or since in painting was that he would add a second layer of linen to an already painted linen surface, just slathering on the vermillion or whatever color he chose. So when you looked at the painting you saw the whole and then as you began to intently survey the surface you noticed there was a second layer of linen attached to the original stretched linen. It gave the painting a whole new surface (as how I saw it that day) and like how great painting affects you, I went home that day and began chopping up pieces of canvas to stick onto my new painting I had decided to make.

The white stripes on the black canvas ground are what I ended up doing. Except I glued mine down and didn't slather the back with glue so they curled up on the edges. If you saw them and still knew about Thursz you probably wouldn't think that was where I got the idea from. But it was.


In the back of the gallery was a table where you could read about the artists in the exhibition. Thankfully she had the two catalogs by Galerie Lelong in NYC on Thursz. I believe they might still have a few copies if you are so inclined. I got them for myself later, but the thing that made me really wish to acquire them was the writings in the back that he would do. I never had read such wonderful writing on painting, it was almost poetry in my mind. I'll see if I can find the other piece but you might have to go buy the books to find that one too.

Tuesday, March 3, 2020

2020 Grant!

Now for the second year I have received a materials grant from the Greater Columbus Arts Council. I am so thankful and happy about this and cannot wait to get to work with their wonderful gift.

Here's a look at a few of the paintings I made with last years grant.




Thank You all at the GCAC and all the Politicians that helped the GCAC to raise their funding for this wonderful help for us Columbus Artists!!!
 
www.gcac.org


Wednesday, February 26, 2020

2002 Reviewed

2002 was a year of change. My grounds became more intense, the colors became more transparent and I had a lot of fun making these.


Untitled Triptych
25.5" X 72"
Acrylic and Wood Filler
on Canvas

The Triptych was the painting I was in the process of making during the change of year. Each pouring was done at my friends basement since it was winter and they had the only way I could make these without reverting back to painting on the bed. Not something I wanted to keep doing after the few close calls where paint almost got all over my bed and floor.

Each time you make a multipanel painting, you must make sure your quality control is on high alert. Your wood needs to be super straight and you need to make sure your connections between paintings are good and sturdy. I had to make a connecting cleat to bring all three panels together, it worked but not as well as I would have liked. I am sure in the future it will have a more mechanical connection which will also allow for the paintings to be disconnected and moved.



Understanding
48" X 36"
Acrylic and Wood Filler
On Canvas

I was really happy with the way this painting came out. The white was where the real challenge was, working with white and trying to get it transparent is a learning moment, 


06-02-2002
25.5" X 24.13"
Acrylic and Wood Filler
On Canvas

The blue really brought the whole painting together.


06-08-2002
36" X 72"
Acrylic and Wood Filler
on Canvas

I bought enough stretchers to make two 3X6 foot paintings, or one nice 6ft square diptych. I later figured it would be best if they were two separate paintings. They were originally meant to be paintings that looked as if they were made around the same time, it didn't turn out that way.


06-16-2002
36" X 72"
Acrylic and Wood Filler
On Canvas

The colors and manner of painting on this is much more wild than the previous painting. But it only really gets you in person.

Untitled (Blue)
60" X 50"
Acrylic and Wood Filler
On Canvas

Still one of my favorites from 2002. I remember painting the ground in my 10X8Foot bedroom at my Fathers. I had to pin a sheet of canvas to the wall behind the canvas so it would catch all the dripping paint and hopefully not let much get on the floor or wall. It did anyway, just not as bad as if the sheet hadn't been there. The blue was poured on the weekend when my Father and his wife were on their summer vacations. 


07-30-2002
25.5" X 24.13"
Acrylic and Wood Filler
on Canvas
Private Collection

The Private Collection moniker for this painting is a bit odd, I have no idea where this painting is today, as it was originally accepted by Klaus Kertess. I had been in a small dialog with him about my works which he was pushing me to make more and move to NYC since as he said "I can't do anything for you in Ohio". I had a wild idea one night and sent him this painting, he emailed me a few weeks later to tell me he had received the painting, almost sent it back to me without looking, but couldn't after he pulled it from it's box. This was a painting (that from 2002 until the day I sent it to him), that was hanging on front of my closet door. I always liked putting small works on the door since it was the closest place I could hang a painting where it would easily be seen in reference to my television. Therefore showing me what I was working toward as I was also not doing what I should have been.


08-31-2002 (River of
Dying Dreams)
60" X 44"
Acrylic and Wood Filler
On Canvas

By far one of my heaviest paintings. I must have put three or four quarts of wood filler on the canvas of this painting, and that's before all the paint. My Father used to tell me I should try to make the wood filler in the shape of a person so I could make my own wild portraits, I don't do portraits. SO he would then tell me to just cake the filler onto the canvas as much as possible. That idea wasn't one I wanted in my work so I never did any of his paintings. But I did use a hell of a lot of texture within this and it really has a hell of a presence for a painting. You just gotta see it in person.


Disruption
50" X 38"
Acrylic and Wood Filler
On Canvas
Private Collection

This painting was made as a commission for a new collector.

Thanks for viewing. Please click on the images to see larger views of them. If you have any interest in one of these for yourself, please get in touch here and we can discuss it.

Testers in white

Since 2017 I began making what I refer to as TESTERS. SInce I made the first group I have been excited to make more, as some of you know, I've never been one for smaller artworks. I used to never think I would be able to make small paintings. Especially when I was making my poured paintings, I simply couldn't envision works like these. But now since I have created such a tremendous body of work in these smaller paintings, I am more than ever wanting to make more and more. One thing that has really come forth is how to experiment and develop my future paintings. I like many others get a lot of my ideas from artists of the past, but with these I have been able to bring some of those ideas into my own work. I won't tell you whom inspired this or that. Let's have fun and you tell me in person. 

The first one of these I made was originally going to be 9 X 6 Inches, but I had a brain fart while cutting the first boards for the chassis and made the chassis 9.5 Inches instead. Lots of us call them "Happy Accidents"(Thanks Bob!). I do too since I later realized I liked the odd measurement and how it related to the shape and kept it.

Each is 9.5 X 6 Inches and 1.5" thick. These are named after their number of making...17-18-19. I name each Tester by how many I've made. Looking forward to seeing what #100 looks like. Might get there by 2022. 







Zoom in and check out even more details by clicking on the image. Right click and you can see them even larger.

Thanks for viewing. 
Jeffrey Collins

Friday, February 14, 2020

1999 Reviewed

1999 was the year I made the change. I decided wholeheartedly that I would truly become the painter I knew I could be if I just tried. I made a few paintings in 1998 and back into the early 90's, but that was before I knew I had to find myself if I was going to become the painter I knew I could be. I knew if I wanted to succeed that I had to find my own style. I didn't want to be another this or that. I just wanted to be me. It was at this time I asked my Father if he could make me a stretcher for a large painting to be 5.5 X 4 Feet. I figured working on a large surface was the quickest way to find out what you like and what you don't. It's much easier to deal with in the larger work as there is more space for your eye to dance around and see how things fit.


Red on White
66" X 48"
Acrylic and Wood Filler
on Canvas 

First Painting of the year. It was painted during the summer of 1999. Dad had made me this great chassis from wood we had bought at the Depot and he had chopped up and shaped at his job where they had a wood shop. I remember the day he came home with it. He told me to go get it out of the back of his truck. I remember pulling it from the bed and just admiring the size of it, along with that came the questions...what the hell am I gonna do with something this big? Well. I eventually figured that out. But there's about 4-5 other paintings underneath this one. I was very stingy with the texture as it was a new material to me, as was acrylic paint. I had never worked a painting like this before. I actually think this is the second painting of that year, since the first ones are now tossed and one is a survivor, but I don't have a very good photo of it. I didn't know a lot about painting by this time so I was improvising as well as I could. The red is all pigment mixed into water and then dumped on the canvas and then quickly moved around. Which is why the drips stop on the surface. Once I learnt about using mediums to extend the color I never stopped. There are only the two that are like this. It's actually quite difficult to see the texture within this painting.


Sept 1999
47.75" X 26.5"
Acrylic and Wood Filler
On Canvas

Second painting after the upper. I recall with this one I learnt about molding paste, but alas I had no teacher to tell me how to use it. It wasn't very highly textural molding paste at the time. It was made from utrecht and really was just the consistency of thick paint. So that became an extra textural medium on this painting as the wood filler was. The red is the same as the painting above and it applied much in the same way.


Blue on Gray
30" X 30"
Acrylic and Wood Filler
On Canvas 

Sixth Painting of that year, you can see the development in my work clearly. By this time I had discovered the wonders of acrylic medium as the thing to make my paints last longer. Mind you I did not have anyone teaching me about paints. I believe I learnt about the mediums from going to my local Blick and talking with a lady painter that worked there. This painting like a lot of my smaller work was finished on my bed, covered with newspapers. I think I even began taping the papers together so they wouldn't drip onto my bed covers. I think that might account for the slight changing of the current of the drying paint as you can see toward the middle lower section of the painting. At this time I was using also quite a bit of latex housepaint on my artworks. It gave the work a very flat look which at the time I thought I liked but these days I don't. In time I came to use acrylic paints solely from utrecht and no more house paint.


Gray on White
25 3/8" X 23 3/4"
Acrylic and Wood Filler
On Canvas

Third Painting. I was in a mood and wanted a gray painting. You can see the texture on this painting is quite a difference between this and the first painting you see on this entry. I was really trying to give a more homogeneous surface to paint upon. I still remember this painting was made on a weekday, I made quite a few on days when the parental figures were still in the house. Wasn't long after this that I pretty much only painted when they were gone, or i'd just paint on small works in my bedroom. It was one of my first paintings when I was finished pouring and manipulating the color, I was truly satisfied with what I had composed. I remember as with many many other paintings, that when they were finished, my first job was to go clean myself up, after that I would go back to the garage every 45 or 30 minutes to see how much the painting had dried. I had to make sure the painting was at least movable to a new place so Dad could get his truck back in the garage at night.


Green on Gray
36" X 30"
Acrylic and Wood Filler
On Canvas

Fourth Painting "perhaps" of 1999. This one is quite different as I didn't really know what I was going for but I just wanted to experiment. This is the painting when I finally learnt about mixing paint with mediums to extend the color. The green poured on this is a very glossy green because of that. I remember buying an 8oz container of gloss medium to check out and being wowed when I saw that the green still had the same brilliance as it did out of the tube. This painting was one that was finished in my bedroom. I can't remember what I did with it after it was dried. Maybe I hung it on my wall. I don't remember. Around this time I also began using our old water softener room for my painting closet. I had so many in there at one time my step-mom who was never that thrilled about my work told me to find a new place for it. It wasn't very long after that Dad told me he had fixed a place for me to put my work in the shed in the back yard. It became a nice place to keep the works until after Dad had passed and my Stepmom asked me to get my work. I still remember that day so vividly as it was the day I got poison ivy all over my hands and it took over a year, maybe two before it was fully gone. It was some real stingy stuff. I remember sleeping with gloves to keep myself from scratching. This painting is also quite different as I had decided to use pre made stretchers but didn't have much money or know why I should use thicker stretcher bars, so they are the thin bars that are usually for schools.



Yellow on Blue
22" X 20"
Acrylic and Wood Filler
On Canvas

Fifth Painting that also has my trademark knife marks at the bottom which signify my signature at the time. I later got rid of it as it became too noticeable, and I didn't want any one thing to stand out above the rest of the artwork. This was also painted with the same gray that was used on the blue and gray from above. I had a whole quart of the stuff so I was damn sure I was going to use it. You can see the yellow didn't get mixed as well as I had hoped and therefore it has a slightly splotchy look to the poured yellow. But I still dig the way it came forth. This was such a small painting that I had a lot of fun making it. It was easy to pour, but by this time I had learnt to make even more poured color and it ran out all over the paper on the bed. I remember grabbing some paper towels and soaking it up. Thankfully it dried before bed that night but I can't remember what I did with it after. I may have hung it in my bedroom. I didn't have much room in there being that it was 10 X 8 feet. It may have ended up on my closet door. I tended to like hanging work there because it was by the television so when watching, I could easily enjoy my paintings too.


Thanks for reading! More to come...




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Thanks for the 2019 and NOW THE 2020 Grant!!! Love you all!!!