Monday, September 18, 2017

Loaves and Fishes

I haven't done anything art-ish for a while, so now it's time for an update. I'm working on a cookbook for a bunch of Morons with a website and these are my first couple of practice drawings. Well, the fish is good. The bread may get improved on. I'll post more as I un-sloth myself.

Monday, January 27, 2014

My Favorite Photo Ever

It is starting to look like a pattern here, two consecutive posts of a reclining nude.  So I'll carve another box with a fish on it soon. 

Art doesn't imitate life, nor vice versa.  They are intertwined.  And while there are many worthy subjects for art, there is none superior to the human form.  It's not just girl parts, though I am a great fan of girl parts.  Michelangelo's "David" may be the best scultpure ever, and there's a post early in this blog (December 2004 "What is not art?") in which I compare some boy parts to parts of David.  Those parts are mine.  There's even another blog called "Self As Object" which uses my form to explore male nudes, if that sort of thing interests you. 

As a fan of photography I have a pantheon of iconic images and photographers to whom I refer.  Weston, Mapplethorpe, Bert Stern, Herb Ritts and dozens of others have produced striking or moving images of female nudes.  I'm not necessarily going toe-to-toe with the big guys, but art exists at the intersection of the work and the audience.  It is a subjective experience and I can't make an empirical case for this photo being better than others, but it moves me more. 

This was shot with a medium format Bronica under natural light.  There is a framed print of it on my wall at home.  I never tire of looking at it.  The light, the form and the subject move me.

Thursday, January 16, 2014

Modern Roots

I mentioned earlier in the blog that while I dabble in various media my true love is black and white photography.  I love the smells of a darkroom and the feel of paper in chemicals, and watching an image magically appear.  I also love the iterations of getting it right: change the filter, change the exposure, crop it differently...

The result is what I love.  A timeless image of a beautiful form in natural light. 

Sunday, December 30, 2012

Making of

I've started a bunch of things with the aim of making them repeatable and commercial.  (That was the origin of the carved mermaid).  Then it turns out that I like the process of finding a mermaid in a block of wood, and when she's been found I don't want to do it again.  These are just some in medias res of some woodworking that I think look good in their own right.

Thursday, October 30, 2008

More Work in Progress?

This was supposed to be the basis for a watercolor. The idea was to do a sort of Winslow Homer thing but to borrow the waves from Japanese woodblock prints. Maybe it's just an ink drawing and it's finished.

Thursday, February 21, 2008

Arts N Crafts

These are poplar boxes. Science will no doubt one day discover that they serve a useful purpose, but to date they are just the residue of my desire to make dove-tail boxes using only hand tools and to scratch drawings into their facades.

The striped bass is freshly stained and on the workbench. The great blue heron has settled into the patina which is the final state of both pieces. When bas reflief dove-tail boxes become all the rage, you'll know I was a pioneer.

Tuesday, January 16, 2007

Two Virgins

This I think is the artistic version of "you can never step in the same river twice". Each of these is copied from Andrew Wyeth's 'The Virgin', about a year apart. The one on the left is pen and ink, on the right is pencil, but I think that beyond medium there was a great difference in me at the two times in my life.

The one on the right came later and I thought at the time represented an improvement in my technique. Now I like the harder-edged one on the left much more. She's also reminiscent of a bartender I had a crush on, but that never went anywhere.

The Virgin is Siri, who modelled for Wyeth many times. Although he continued to paint Helga sporadically, Siri represented something of moving on for him. In one of his books is a great anecdote about the time of the creation of the original. Siri is posed in a darkened barn with a shaft of sunlight coming down on her. Wyeth recounts that he was friends with a sculptor at the time, and says something like "there he is hacking away at his wooden Indian all day, and noone knows that I've got this beautiful 15-year-old virgin in my barn".