A Moment in the Sun

I took a break from my circus series and revisited an image that I had done a sepia drawing of several years ago. This is called:"A Moment in the Sun" and is acrylic on canvas, measuring 36" x 60". I changed things up a bit, and replaced two of the figures. There is something about how the figures are arranged, the way the light hits their faces and bodies that intrigues me. This is from an old family photo from the late 1940's, an era where cameras were at waist level which gave the people in the photo an epic quality. Images had to be brightly lit, so everyone stared bravely into the sun until eyes watered. It took a few seconds to regain one's vision.

I love that suspended moment in photography where everything halts, and a scene is fabricated by the participants that may not have anything to do with what has gone on previously. It is a one second drama, frozen in time.

Fantasy World

The quote is from Itzah C. Krej. It made me start thinking of fantasy worlds, and how we all live in our own fabricated worlds. Fantasy is easier to observe in children, because they don't disguise it. Adults, on the other hand, have a death grip on reality, but never stop to question
if their perceived reality is really real, or just a more sophisticated world of make believe.

Fantasy World; Acrylic on Canvas; 24"x36"

Gambol Art Competition: Juror: Mary McCleary

I have entered these two paintings in the Art League Houston Gambol Show which opens Friday, December 2 at 6PM. The juror is one of the most amazing artists who will be in art history books someday: Mary McCleary. I will have to restrain myself at the opening and hide all evidence of idol worship, because I am definitely a fan.

The first painting above is called "Big Show." It is acrylic on stretched canvas, and measures 48"x60".

The second painting is titled "Courage." It is acrylic on stretched canvas, and measures 48'x60"as well.

Black Sheep

Posting another image showing my progress on the painting titled "Black Sheep." Performance, and irony are expressed through vintage circus images which compel the viewer to take a closer look.

New Paintings

I have been working on a number of pieces. This is a detail of a piece I am calling "Black Sheep", although that could change as the image develops. The size is 40"x 30".

Portrait with Mask

My diptych is complete. It is two canvases which measure 24"x 18" each. Don't really have a title yet.

The "Copy This Painting" Movement

The painting above is called "Liberty", and it is another one of my celebratory paintings.

I got a couple of comments about my last post where I mentioned a place where you can drink and do art. My first exposure to this sort of thing was when I went with my friend to give a demo at an art league outside of Houston. A teacher there was trolling for students, and advertised her upcoming workshop to the group by holding up four paintings. "At the end of my workshop" (she gushed), "you will have four paintings exactly like these!" I was somewhat taken aback. I had seen the results of teachers who created disciples in their classroom, where every student became a clone. But I had never seen copying paintings as the central theme of a painting class, or any other sort of class. Just doesn't seem like art to me.

I got an impassioned email from a dear friend who is a talented artist/photographer/and teacher. She staunchly defended art in any form. I have printed out part of her statement below:

in response to your post.,,,about those places where you make a painting. Yes, there is a main focus on product, vs, process, no room for creativity, no personal expression, etc. etc. However, on the contrary, you could also look at it as a non-threatening way to get someone who has never held a paintbrush since being made fun of in grade school for having no talent or for whatever reason, and labeled themself "not an artist" to be able to simply...paint. Even though the subject, purpose, and instruction sucks, it could serve as an excercise in confidence building, proving the fun of art, and allowing them to learn and appreciate that making your own art (even if it looks like evryone elses) is better than going to the local Kirklands or Hobby Lobby and buying a framed print of some obscure landscape that had no experience to connect with it. It could serve as a catalyst to inspire future works of art with more meaning. With technology being so entertaining in the world today, it seems like the allure to art is less and less. Maybe that is just how I see it in my little bubble. It just seems like the majority of people I know don't care about art. The teachers who pick up their kids from my class couldn't care less about what beautiful painted masterpiece their kids made in my class today. They often tell them to fold it up and put it in their pocket so they can go outside to play. I have NEVER in 8 years received a phone call from a parent who loved the art their kid brought home. I doubt very few pieces of art ever make it to a fridge much more a frame or even a push pin in a wall!! But I do it because I know that the process of making the art was so much more important to them than the paper they take home. Its the experiential knowledge they take with them that is so important. I think no matter what you are painting there is just something about putting paint on a brush and watching it magically transform a white blank space into something beautiful,something terribly ugly, or something that just says something that words cannot. If there were words to express that feeling, I guess there would be no need for paint. I'll get off my soapbox now.

I like your painting, BTW!!


America's disconnect with art is a terrible shame. I wish that this great teacher was getting positive feedback from the parents who have children in her class. I salute all teachers at this time of year.

Celebratory Paintings

For the past two weeks, I have worked on small pieces I call "celebratory paintings". They focus on fun and freedom of expression. I put my inner critic in a closet, and let the good times roll.

This painting's story: My daughter went to an after work get together at one of those places where you drink and are "taught" how to paint a specific painting. The leader/teacher had an art degree from a major west coast university. The image of choice was a sappy abstract landscape: solid black lined trees and faux fauvist dabs of color that were to be the foliage. NO DEVIATING from the original image. My artistic daughter got depressed that no creativity was allowed. She also imagined a younger me as the teacher, and wondered how that young woman settled on this humiliating occupation. She thrust the painting into my hands when she got home and said: "PAINT OVER IT!" I did.

The Big Show

My painting is complete. It is a 4'x5' acrylic on canvas. Hope you enjoy it!

The Big Show

I am posting a progress report for The Big Show. Spring has come to Houston, and a similar delicious display of color is being created in my studio with this work. This painting is so much fun to work on that I can barely contain myself!

The Big Show

I have started a new large painting, and I am so excited to get back to the format that I love best. Although small paintings are precious, and are a necessity for those with walls full of art or people with small budgets, I love the painting that grabs you from across the room. I love the impact of big work. This canvas is 4'x5'! Stay tuned for progress reports on this piece!

New Painting and a Houston Mystery!

The Trying Room; acrylic on canvas; 24"x24"

I have been working on a new painting this month. This idea has been floating around in my head for quite some time now. I wanted to create a room knee deep in masks, with a child wandering through the space, making his selections. The masks are in my collection; they are carefully selected to symbolize the choices we make when we decide who we want to be. We make these selections not only in our youth, but every moment of every day.

Methodist Mystery

While visiting an artist friend in the Methodist Hospital in Houston, I noticed that the trees outside were netted so that the leaves and debris couldn't fall to the ground. I couldn't believe my eyes and had to take photos to prove to myself that it was actually true.




None of the other trees in the medical center have netting; I wonder what were they thinking?

Change of Plans

The little girl changed a bit; got another idea and did it. Half way in between the two images, I liked the hybrid image, and wished I could have preserved it, but this was in my head, and had to do it.

A Straw in the Wind

Worked on this small painting today. It is a 12"x 9" acrylic painting on canvas. I love straw hats that are falling apart. I hate it when mine bite the dust. The girl is going to be holding a chicken. I thought about using a Golden Retriever puppy, but opted for the chicken instead. It makes the image less common. Her raccoon eyes definitely need work!

Another Painting: Playing with Lines

This is 16" x 12" Acrylic on canvas. Not sure what I think of it and not sure if it is finished. Actually, I am sure I have to work on it a bit more, now that I see it reduced....

Less is More; The Power of Small Art

This is a 12" x 9" canvas called Paper Hat. It is a study for a larger painting of this child in a room full of masks called "The Trying Room".

I had an epiphany about small works after spending 3 months painting a large canvas. It dawned on me that tiny pieces can have as much power as large ones. Small works demand the viewer to come closer for a look. Their diminutive size invites quiet contemplation. The large paintings that I have always painted scream at you from across the room: "LOOK AT ME; LOOK AT ME!" They are a bold presence, and not easily ignored.

On another topic, I sold a large painting yesterday from the Jack series; it's called "That's a Mighty Fine Looking Dog!" It was the first painting of the Jack Series, and can be seen on my website: artaskew.com

Hats Off to Small Paintings

I am currently working on a small scale, painting canvases that are 12"x 9". This work is a sub-theme to my Pretense series, and depicts people wearing hats. This piece is called "Straw Hat."

Illusions: When In is Out and Up is Down

Optical illusions are fascinating. It is delightful when they occur in everyday life, rather than encountering them in print. Recently, one of my masks was left upside down on my dressing table. When I looked at it, it appeared to be right-side up. Even with closer inspection, the illusion was so real that it was impossible to see it any other way. Pictured above is an unaltered image of the mask. Below are two photo shopped examples which I couldn't resist playing with.





Another startling optical illusion can be created if you have eight-foot ceilings. Get a large hand mirror that is at least 4" x 4". Mirrored tiles work perfectly. Hold one parallel to the ground and at least six inches from your chin. The idea is for the reflected image in the mirror to fill your viewing field. Then walk around. If the mirror is big enough, your ceilings are eight feet tall, you will perceive that you are walking on the ceiling. Light fixtures and ceiling fans have to be negotiated. When you enter another room, you have to lift your feet to walk over the door jam!

The best part of this illusion is when you go outside. Once you step over the door jam,and walk to the edge of the porch or roof overhang, you are gazing into a bottomless sky or deep space. NOTHING is beneath your feet. Do you take that last step into the void ? Do you take a leap of faith?

Which brings me to Yves Klein in the first photograph of this post. It is called Saut Le Vide, (Leap into the Void) Paris, 1960 by Harry Shunk. It was on view recently at the Menil Museum here in Houston, and is one of my favorite images. Klein was known for this photograph, which shows him leaping off a wall, arms outstretched towards the street below. The large tarpaulin Klein jumped onto was removed from the final image, making this a photomontage, which in the end, was only an illusion.

Photo Finish

My painting is finally finished (except for two minor revisions). It fought me every step of the way, and took far longer than I had hoped to complete, but I persevered.

I obsessively work on a canvas until it is completed. If I had my way, I would work 24/7, or until I dropped from exhaustion. It is a good thing that I am not able to do that!


This shows an early stage of the painting, and underscores some of the changes that were made.
The quality of the images is substandard (sorry) because I haven't replaced my camera which died an untimely death. I had to resort to the i phone camera.

Eliminating Superfluous Content

I add and subtract images when I work on a painting. Initially, I extensively plan out my work. I make sketches, then progress to more complete work-ups on tracing paper. This aids in repositioning figures or objects, and easy access to the mirror image of an object. After the mock-up is finalized, I do a final gridded drawing to transfer to a large, gridded canvas.

Even after so much preliminary work and planning has been done, sometimes a 24" x 18" idea may not translate well to a 48"x 36" canvas. It may be simply a matter of scale, or it may be that some figures or objects distract from my central idea. When that happens, I have to eliminate superfluous content. That has happened with this painting: "House of Cards". This post shows two of the figures I have had to delete.

House of Cards and Alice Neel

I have been working nonstop on the painting called House of Cards. The pace slow because the painting is complicated: 6 figures, 2 patterned dresses, and a stack of cards that sometimes makes me regret that I have always wanted to include them in a painting or two. I have a blank bohemouth 6' x 6' stretched canvas in my entry hall that was meant for this subject, and it may stay there awhile. I am not even sure I can get the canvas into my studio.


I saw a documentary film about Alice Neel several years ago. One of the things that struck me about her house is that there were stacks of paintings everywhere: in every room, hallway, and stairwell. Alice Neel said that "you should keep on painting no matter how difficult it is, because this is all part of experience, and the more experience you have, the better it is .....unless it kills you, and then you know you have gone too far.

If the idea of a house of cards intrigues you at all, check out the movie by the same name (1992).
Kathleen Turner stars as Ruth, the mother of two children. When her husband dies in an accident while the family is in Mexico, the six year old daughter Sally retreats into autism. A specialist in childhood autism attempts to bring Sally back from her mental isolation through traditional psychotherapy. In contrast, Ruth risks her own sanity as she attempts to enter her daughter's world. As she copes with Sally's bizarre behavior, she builds a wonderful, gravity-defying house of cards.

The Artist's Eye

Artists look at the world differently than the average person. Their vision is so disparate that artists are often outsiders, looking from the outside in, engaged yet separate.

I like to think of the first artists painting cave paintings, which are some of the earliest forms of art we know today (they have been carbon-dated to 30,000 BCE). While the vast majority of prehistoric men and women fought for survival in a hostile environment, the early image-makers burrowed deep into caverns, crawling through narrow passages to make their mark. These cave painters were quite skilled at their task, using shading, relief and perspective to accurately portray the animals in their environment.


I think of myself as a cave painter of sorts, spending countless hours creating, removed from the rest of the world.


The image above is a detail of a religious painting of Dolorosa, I believe. I will check and post the source later.


WHAT A RELIEF!

While going through some art catalogs the other day, I came across an advertisement for fine linen canvas that guarantees that I will leave behind a LASTING legacy of art.....IF I buy their product!

Painting Preview

I have started a 4' x 4' acrylic painting with an idea that I have wanted to work on for quite some time. It took about 3-4 weeks to develop the idea, as it involves 6 figures, and a central concept that needed to be conveyed through their images. The child pictured above has an important roll in creating the mood and the mystery of the painting. I had wanted to paint this on a 6' x 6' canvas, but my ordered canvas arrived about two weeks too late (mea culpa). I had the smaller canvas, so I used what I had. Will keep you posted with updates!

Driveby Shooting

Texas had a late spring this year, after a long winter with multiple freezes that many characterized as harsh, bitter, and grueling. Landscapes and yardscapes showed damage from this uncharacteristic weather, with tropicals and tender vegetation biting the dust. Also our insect population was thinned considerably, and our state bird, the mosquito, disappeared for a few nice months. I took to the roads to the hill country to record the annual spring show of Texas wildflowers. My husband was driving, and being a race car driver, he wasn"t inclined to stop for me to get the perfect picture. So I engaged in what I call "Driveby Shooting." I was using my iPhone, and was quite lucky the first day, being able to time the shots with just the right amount of anticipation to catch the scenes with the time delay it takes to capture the digital images. A side effect of such photography on the run is the "leaning fence illusion". Pictured above is an old school house somewhere around Frelsburg, maybe. I forget its exact location!

Love the yellow wildflowers. They are the most spectacular on dark and overcast days.

Bluebonnets are the pride and joy of Texas. Their beauty is more easily seen with the eye, than with the camera lens, as their tone and color is so close to green grass. They just don't show up.

Above is a multicolored field of flowers. This is another situation where the beauty of the field is better captured with the eye, than with a "driveby shooting." Below are Indian Paintbrush.

So ends my day of photography on the run. I don't recommend it to anyone, except to those who have a husband who thinks he is on a racetrack. Maybe next year we'll be more leisurely!

What is Art?

"Butterfly Kiss"; Manipulated Photo; 8" x 10"

ARTISATOOL

OFTHINKING

ARTISATOOL

OFTHINKING

ARTISATOOL

OFTHINKING

Artist's provide a different way to view things.

Their work is many times slightly askew, offered for cogitation and reflection. Sometimes a piece is pure eye candy!

Death of a Pet

I am still mourning the loss of Jack. We are always unprepared in the face of death, but this dog went so quickly, that it was particularly hard to take. This is a portion of a drawing I made of him over a month ago.

This is a 16" x 20" acrylic painting of Jack. It is not yet completed. I am going to have a monarch butterfly in it. If you look closely, there is a ghost of a small butterfly in the background. I over painted the original dog head and butterfly because the images were the wrong scale. I like images to be bold and bigger than life. When they crowd the edges of the frame, I am happy.

Newest Work Incorporates Recurring Portraits

I found an old image in an antique store that captivated me. It appears above in an unfinished
7"x 5" acrylic canvas that I call "Lilly." I wanted to use the image again, which led to the study below.

This 12"x9" piece is called "Lilly of the Leaves. " It incorporates autumnal leaf patterns that are sometimes left behind on sidewalks after days of light rain. I am going to paint a larger version of this picture, and play around color, and with the abstract shapes of the leaves.

Image Threads

Many of the people who populate my canvases keep reappearing in different guises. This small painting (7"x 5") above is called "Constance." I named it after a wonderful woman who commissioned a portrait of Winston Churchill for a birthday present. Giclees are available. The face made a huge impression on me, and will populate several future paintings.

The face of Constance reappeared in the 5'x3' painting below. Named "Make.Believe", the acrylic painting resembles a large photograph with its white borders. Constance makes another appearance in the recent 12"x9" study above. Called "Masking", the piece explores "trying on" different identities.

Hunting Art Prize Finalist

Two weeks ago I learned that I am a finalist in the Hunting Art Prize Competition. "Courage", the painting I entered, is a 4'x 5' acrylic. The Hunting Art Prize, which is sponsored by the international oil services company Hunting PLC, is a prestigious annual art competition open to established and emerging artists.

It's $50,000 award is the most generous annual prize in the U.S. and has helped to build the reputations and the support the careers of distinguished artists. The winner will be announced at a Gala in Houston on May 1st.

distinguished artists