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...




Saturday, February 1, 2020

2000 Reviewed: A Diary

More insight into my past through my artwork...

The year 1999 going into 2000 was a very important time in my development. The early development is always some of the most important as it's the work you can look back on in twenty or more years and see where you were growing as an artist. I remember plenty of stories about many of these paintings also. 2000 was also the year I got accepted into the first large exhibition of my career.


A Cleansing
60" X 44"
Acrylic and Wood Filler
On Canvas

This painting is still one of my absolute favorites. One you'll definitely see in my museum. I remember having a wonderful little problem which turned into a glorious painting. I called it "A Cleansing" after the blood letting I had heard of as a kid. And the painting really looked like a dried wound because of the green and red mixing as layers. This was one of those paintings which I finished on Friday after my Dad and Stepmom had left to go down to their cabin on the Muskingum River. It was a two pour painting where I layer colors after they dry. I originally did green but like the painting I later did in 2001, I seem to have a thing with green paintings, or at least I did then. I think what happened was I actually ran out of green paint that day so I had to figure out how to get the canvas ready for another coat of color. I didn't yet have red as a second pour in my mind. The next friday I began what would become the above painting. I don't remember much since when you are in the moment of painting you aren't in a normal frame of mind for thinking. It's more of a utilitarian type of thought where you need to work on your balance of color shape and forms. Once the painting was complete, it was propped up in the garage and left to dry. Since the pour wasn't thick and it had a transparent color, it dried pretty well. I was so anxious to put the painting on the wall that I was coming back out into the garage every hour to check how quick it was drying under the fans. Sometime around midnight, it suddenly became cured enough to be able to move around. So being so anxious as I was to see it on a wall, and not having a dedicated viewing wall at the time. I took and brought the painting in my Stepmom's decorated living room, which had no art, just Kinkade-like art prints and a homey type sense of decoration. We had a room air cleaner, so I took my painting and sat it on that and propped it up toward the wall. Too bad I never took any of those photos. It's still fully clear in my mind. I sat the painting up and then sat down on the couch and spent the whole weekend with my new painting propped up in the living room. Had a wonderful time checking it out during the weekend, seeing it deeper as I would walk into the kitchen and back out again. 


A Small Thursday
25 1/8" X 24 3/16"
Acrylic and Wood Filler
on Canvas

I don't remember much about this particular painting except for the flash of memories that come back reminding me of my inner state while creating this wonderful painting. It was a Thursday when I made this, hence the title. I remember my Father was with me in the garage when I made this. It was one of those days when he was doing something after work and I just asked, hey you mind if I finish this painting here? I grabbed a few sheets of rosin paper and got to it. This was the first time pouring black, and it was so transparent from the thinning that it almost looks grey from time to time. Being so small, it was one of the smallest paintings made that year, I knew it wasn't going to be much of a bother to my Father, he just wanted to know how long before he could park his truck back in the garage. I told him by the time you go to bed, it'll be dry. It was.  You can also see my marker on the lower left corner which you will learn about in the next painting story.

Blue on White
33 1/4" X 29 7/8"
Acrylic and Wood Filler
on Canvas

This was yet another painting that was made in my bedroom at my Fathers place. It is also one of a few paintings with a marker in it. Early on in these years, I had a desire to put a specific marker in my paintings. It became the four and five knife mark grouping on the lower left corner of the painting. Originally it was a way I felt to be a signature of sorts, in time I realized it was like a signature on my painting as it took my eye away from the rest of the painting just to look at the signature. It only lasted I believe through parts of 2000. I had given up by the next year.


Day Four
48" X 36"
Acrylic and Wood Filler
On Canvas

Orange with white pouring. It's so vivid in person. In this time I usually wanted the pouring to have almost the sense of mountains, I always tried to make sure there was a peak to the main upper pour and allow the grid to come naturally. I made a damn good painting that day. I don't know why the title. Might have been one of those book techniques like I read about how Motherwell got his titles.


Expression of a
Fleeting Moment
44" X 32"
Acrylic and Wood Filler
on Canvas

The title on this has a little nod to De Kooning. In the videos I have of him being interviewed he liked to speak of fleeting moments. And painting is definitely one of those fleeting moments, it comes and goes. Memories are born of painting that the mind needs to remember. Remembering the times when no one cared about our work, when we made art because that's what we KNOW we are.  This is another whose contrast is such that trying to get a great picture is futile.

Four in the Afternoon
72" X 60"
Acrylic and Wood Filler
On Canvas

Four In the Afternoon was the time I was finished working on this painting during the summer months of 2000. I invited my friend Garth Stanley to come over, actually I kinda had to drag him down to help, he wasn't too keen on art. I had to ask him for help since the last painting I had finished was a slippery slope trying to paint on plastic sheeting. Funny thing is once I began the painting I did okay with the plastic. I guess I really just wanted someone to be there with me to witness this. He mostly stayed outside the garage on the back patio but he saw what I was doing and came in a few times to watch. It took about 30 minutes to do the final blue pouring on top. It's a blue, a black, and then purple for the ground. As you can see from the photos of my working on REGRESSION, this painting was originally brown with red on top. Well one day while painting oh so slowly on the canvas, because I had it in my mind that smaller brushes didn't waste as much paint, plus they got into the crevices better than a big brush. Well, one day I looked at the canvas and realized there just wasn't enough texture on a painting this big. So I got some wood filler and began attacking the canvas. Once that was done, I felt I guess it's not gonna be brown now because it takes too damn long a time to repaint the whole thing with that tiny brush. I primed it all again in white and began with purple as my base color. I've made or tried to make red on brown paintings since and they have almost never worked. One day. You can really see the veiling well from the gravity pulling the paint from the textured sections. I love this technique in pouring, as it really lets you see differently through colors. I've had many Rothko thoughts when people see this in reproduction, but never has anyone said that when they see it in person.


Gaining Acceptance
48" X 36"
Acrylic and Wood Filler
On Canvas

It's been said, and I have first hand experience of this, that thoughts do become things. Case in point is this painting, as I was pouring the top, which is one of the few mixed color pours, I knew that the Ohio Art League's yearly show was coming up, I knew that this year was a special one that was to be held at the Columbus Museum of Art. I knew little of the person who was going to jury the show but I did know his name was David Reed. I researched him and thought he would probably do a really cool exhibition. Which he did. While I was working on pouring the top a thought popped into my mind about my taking this work to the warehouse where he would look at the work, and how ironic it would be if this painting was named GAINING ACCEPTANCE and it was the painting that got me into this show. I had also chosen REGRESSION to enter, I actually thought it was a stronger painting and that would be the one accepted. Then obviously I hoped it would be both paintings that got accepted. Once the painting was finished I took it with REGRESSION to the warehouse to get it ready for judging. A few weeks later I got my card returned to me with GAINING ACCEPTANCE as the painting that got chosen. What a big deal this was for me. I tell David about it every time I see him. I'm still so honored to have been in that exhibition. David wasn't there for the opening, or at least I didn't know. It was such a wonderful event, but unfortunately I have no photos from it. I still remember where it sat on the wall. Good times! And a sign of things to come.

You can see the review below. Click on it and you can see it larger, right click and you can possibly view it even larger.


I still have this review on my wall, and forever looking great since it was laminated.


White on Green
44" X 34"
Acrylic and Wood Filler
On Canvas

White on Green has been my hardest painting to photograph. I haven't tried again since somewhere around 2009 or so. This was always a painting that I wanted to spend time with but have always had another painting that deserved the viewing wall a bit more. One day it will have it's own wall. You can see the signature on the bottom left corner again. It actually camouflaged itself pretty good in the overall look of the painting. The extreme contrasts in this painting even give the green a black look in certain lighting situations.


Untitled
25 1/8" X 24 3/16"
Acrylic and Wood Filler
On Canvas
Private Collection

As you can see on the bottom left, my signature at the time. Granted the real signature has always been on the back of the painting. The white on this was thinned down so much in an attempt to get a transparency in the pour. It was successful but at the same time I was using a matte medium for my pouring so you see no gloss in the pour. This painting was given away to a person I just wanted to give something nice to. Now I wonder how they are taking care of it. It's probably in a closet in her home. I will never just give work away like this again. I was in my head thinking the space I would get was more important at the time and it really isn't where I should have been in my head.


Untitled Diptych
60" X 72"
Acrylic and Wood Filler
On Canvas 

 Late 1999 I began making this diptych. I actually believe it was begun in the fall months when I was able to get with Dad and make come stretchers. We liked making them instead of buying, they were just much more easy and cheaper to make. We went a day before and bought the wood to make them. Went to Children's Hospital where my Father worked and had access to their wood shop. So on Saturday we would go down there and use their equipment and made two stretchers. We did pretty good too, they have a small opening at the bottom if you don't hang them as well as you can. We used to talk about how to put them together so they sit better on the wall, but the paintings have never left the house except when moving. I was working on this painting when 1999 became 2000, a small brush I used to paint the surface, I for some reason was only into using small brushes to make large paintings. Maybe it had to do with my desire to spend as much time as possible on the actual painting of the painting. Both canvases had their ground colors painted on my bed. One panel was poured on my bed, by the time I did the pouring I was learning more about how to paint on my bed without accidentally sitting in wet paint after. The second panel was painted during the winter at my friend Garth Stanley's Mom's home. Her name is Joyce. Very nice lady to let me use her basement to finish paintings while it was too cold to work in Dad's garage.
 

Green on Black
22" X 18 1/4"
Acrylic and Wood Filler
On Canvas

The second finished painting of the year. I knew I needed to make smaller works if I was still going to be painting in my tiny bedroom and working on my bed. It was also one of the first to incorporate the "signature" I would create at the bottom left corner. This is also one of the only paintings completed with pre-primed canvas. I never really liked the feel of primed canvas so I gave up on it quickly in my development. Visual memories come back to sitting on my small stool going back and forth from staring at this or staring at the television which at the time I had recently discovered the best art documentary ever made... Painters Painting. Once I discovered that film it pretty much lived on repeat as I would paint. Except for the warhola section which was also forwarded through.


Uncertain and Uncomfortable
48" X 36"
Acrylic and Wood Filler
On Canvas  

This is one of the last paintings I made in 2000. This one was also finished in Joyce Stanley's basement. I remember dragging the painting out from my car as I drove up the block to Garth's place. Thankfully I have always had cars that could handle a 4 foot wide painting in between the front seats and the flooring behind them. One good reason to always buy the sedan version of a car.

Regression
48" X 36"
Acrylic and Wood Filler
on Canvas  

This was the first painting made with pouring two colors simultaneously. At the time I made this spring had come so I was able to once again paint in Fathers garage. I believe the photos below were taken by my friend Garth Stanley. He helped me document a number of paintings as I was finishing them. My Father also helped one or two times but usually I would paint on the weekends when they were out visiting their cabin on the Muskingum River, which they would do every year I was living there. Nice thing was in the summer they would use up all their built up time off to spend weeks at a time down there hanging out with their friends. Left me with plenty of wonderful time by myself to do what I wanted. Granted the time did drone on and there were many times I wished they would come back early on Sunday so I could spend some time with my Dad before he had to go back to work the next day.



The big brown painting behind me eventually became "Four in the Afternoon" a painting which Garth Stanley also helped me complete. He didn't do much that day, I asked him to come down since it was my first large format painting and I asked him to come down in case something happened. I did almost slip on the plastic sheeting that I placed on the floor, wasn't long after that when I got back to using only rosin paper for my flooring needs.


Highway
40" X 36"
Acrylic and Wood Filler
on Canvas  

Highway was the first painting completed in 2000. In these days, it's kinda strange but I didn't have much of a place to paint in these days, so necessity being the mother of invention, I was painting (pouring) on my bed in my bedroom. I would cover the entirety of my twin sized bed in rosin paper, as I later found out rosin paper soaked up plenty of the left over paint and was thicker and better than just layering down old newspapers. After the painting was completed, I would prop it up like I always do to keep the painting slowly moving which creates the "veiling" with the undercolor which I like with the texture. I'd immediately put fans on the painting to get it to dry as much as possible before I had to clean off my bed to go to sleep. I almost always had the wall above my bed to be where I would hang the work to dry the rest of the night. It was this manner of painting that allowed me to learn about how long it really takes for the acrylic to fully cure and dry, for the most part you never want to place one acrylic painting leaning on top of another, no matter how long they have been drying, they can still adhere to the other. 

This is all firsthand knowledge.

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