Sunday, April 13, 2014

Migration is finished and has a place to hang out too!

  Migration (894, 895 & 896) oil on linen 66x180 (4-12-14)

When I started the year with a new goal, "painting for an exhibit that didn't exist," no exhibit space did exit! I just knew it was time for a change, a change from supplying galleries with paintings to making paintings for solo exhibits. I believe it to be a different creative process. I knew if I had the work, the work would find a venue. I also knew if I didn't, no venue would surface. 

Galleries for the most part can't handle a painting like Migration unless perhaps in a solo exhibit situation. Paintings like Migration are not painted to sell but get attention! Migration is the first painting this year painted with all this in mind. 

Every exhibit needs anchor paintings; something they stop dead in their tracks for, something to remember, and something that makes everything else pale for a moment. If its a small exhibit, one anchor might do the job.  If it's larger format exhibit space, more are needed to lead you through the entire exhibit, keeping your interest peaked and forcing you to move on to the next morsel. Now, if you can put the viewer in the painting, and size does that, you make them part of the experience and therefore part of the creative process through interaction! We don't have a tendency to forget that kind of experience. If you can make these kinds of paintings, I think you stand a chance in today's art world.

Because of other paintings like this done over the last few years, an opportunity did surface. Not exactly what I expected, I actually thought it would be a gallery. I was approached by The Cultural Art Center at Glen Allen to do a solo exhibit in their main gallery. The center and gallery space sold me; it was perfect for what I had in mind. I was on board! A good first step for an artist like me. I have six months and now I'm able to paint to a space I know.

I get to fill these walls - how cool is that?
Center hall with gallery on either side
Gallery A
Gallery A
Gallery B
 DEL'OCEANO: FROM THE SEA
 Outstanding exhibit of kiln fused glass 
by Cara Michele DiMassimo

Spooky, because it kinda reminded me of  "build a ball field and they'll come" situation.....mmmmmm

Later..........

Thursday, April 10, 2014

Artist need walls to paint for...walls and spaces we control!

The other night after gallery hopping, I was having a dinner chat with good friend Jenni Kirby owner of Crossroads Art Center here in Richmond. Crossroads is 12 years old and thriving. I discovered Crossroads back in 2010 while looking for a place to hang out in the local art market to test my art and get some feedback, you name it! I looked at a few galleries, but I was in no way ready for that sandbox......I was still in the teeny canvas mode, doing juried shows and nowhere close to a "best wall painting" I aspired to. Crossroads once juried in had an interesting concept though, everyone had skin in the game and paid their share....not a co-op but a full service gallery center with walls for lease, classroom space for workshops, a framer and mini art store all wrapped up into one big space. Crossroads is also very community oriented sponsoring many benefits, and even has several large exhibition spaces for artist exhibits and juried exhibits every 2-months with large crowds attending. All of this and solid stable management! Crossroads is great for any artist who does not want to run their own gallery or studio to sell their work if they can't get gallery representation.

BTW a logical progression if no Crossroads option is available. Lots of those artists run their own operations; I wonder how that works for them. Perhaps as well as being an artist who teaches to pay the bills, probably not too well because their art suffers. Don't get me wrong there are some out there that can do both well.....a special breed. As a full time artist I have enough on my plate without adding teaching or a business to the mix. I suspect everyone in the end does what works for them because we do follow a logical course, as opportunity arises, that fit, we instinctively move on them. If we go against that current it can be a turbulent ride, even disappointing...aimless drifting.

Jenni doesn't have time to read blogs because if she did, she would have known I already did what she asked me to do at the end of our dinner chat.......write about Crossroads and the affect it had on me and my career as an artist.   I know it could not have been done within the time frame I had to work in without Crossroads!!


Artists, whether they know it or not, need walls to paint for, almost from the beginning, walls they control in order to grow. We can rely on galleries (if we have them) or community group exhibits or because in this day and time we are a global lot, even national or international platforms are available to show our work.......but it's piecemeal at best and WE DON’T HAVE MUCH CONTROL, IF ANY! We need to see our work hung as a body as in a solo exhibit, to evaluate it, to see what works and what doesn't. We need to see how we stack up against the competition too! Does our work have a "jump factor" and will it "sell"? How else will we grow and raise the bar? Not all of that is easy to do unless you are a gallery artist and a star player at that, unfortunately, a requirement before a gallery will look at you. What do we do before stardom??? We hope for a Crossroads, that's what!!

I'm a big advocate of the Crossroads business model especially at the front end of an artist’s career and think everyone ought to have access, regardless of their talent level and no matter where they live on this globe! The fly in the ointment, it takes a special DNA makeup to pull it off as in a Jenni! Not a lot of Jennis around to open all these facilities either.......hard to say, because no one has really looked!

Is there a model that would almost guarantee a successful outcome for an artist? If they have the talent and fortitude I believe there is! It's a lot of work and involves a lot of outside players besides the artist. It's intuitive because you gotta move with the talent, nurture it by education in marketing sales and have available space to accommodate them as they grow....if not they move on or worse stop evolving as an artist.

The problem I see now at least for me, once you figure it out and you’re out there in the big world how does a Crossroads fit into your own business plan?....This was part of our conversation, the "what’s next"? Is there a business model yet to be developed within the current Crossroads model that could accommodate the graduate?

Here's what I know as a Crossroads’ graduate to large format painter and galleries as I know them now.

In today's world an artist has to take control of his or her own destiny and not expect the gallery system to do it for you......it won't happen otherwise! In today's world an artist has the power to do it! In today's world we are global and few galleries are! Galleries are regional at best, as artists we have to fit each region to make it there. Go there, shake hands, many of us do, many of us also travel the world making new contacts - you gotta love the internet! Sorry Amazon your not there yet! All this at our disposal and whether we like it or not upscale fine art still needs bricks and mortar to sell. Wouldn't it be great if we had control of that too, control of how our work is presented...not crammed in with no room to breathe........nice thought!! Or is there another level to the Crossroads model? Full gallery services with our own space to show our work as it should be! In locations worldwide so we can pick and choose our markets....even move around within the system as guest exhibitors for a month or two.

I'm not talking about vanity galleries here either, where you pay and pay and pay with no results....perhaps a scam perhaps not! I know nothing about it other than a few that have done it and from what I read. Many seem to be agents....dada, da...da. Not my game and I personally don't need them.

I do need first class display space to show my wares with good quality (stable) management that can move with me not against me....at this point I am perfectly willing to lease quality short term gallery space to have an exhibit in areas I want to play in, much the way fashion week, furniture week or art fairs might be handled. I won't be hung in a tent on movable walls so most of the art fairs would not work for me; it has to be bricks and mortar. These quality spaces are out there.....but no management!!

In the end we as artists have to get our work out there and show in a complete body and not piecemeal........get their attention see if we can make them jump!!

I think I'm on the right track!
                 
Later......

Monday, April 7, 2014

Migration.....

Yesterday I set up my easel for the 3rd and final panel of Migration.  I Made a few marks on the other two panels, then set those up outdoors in natural daylight...perhaps north light quality, hoping for a decent image.

My first response, I don't think I like it!! Oops! However, I think it's more about working with the same colour for more than 20 days! A long time for someone like me who won't typically work on a painting more than seven days and thinks anything beyond that suffers overcooking. Each of these panels took about 10 days... pushing my limits. Easy to take a break and do an unrelated painting but it leaves an unfinished project in the air and stands a serious chance of me never returning to it. With time and another painting, my thought process will change.....this will become history or a lot of repaint because of new thinking........I no longer have a bailout option!  Oddly, I'm not looking for one, because I do want this finished whether I end up liking it or not. The one thing I do know, I can't do the "last 15-minutes" until all my panels are in place. That could be a game changer......a bit of a dance throughout the whole painting..:=)

Progress 894 and 985 Migration 66x100 oil on linen (4-6-14)

I'll spare the progressions until I have a 3rd panel and it's time to dance!

RECENT SALE
765 The Student 30x30 oil on linen (1-10-13)
MADE A GREAT AD TOO!
American Art Collector March 2013

Congratulations to Rich Timmons Fine Art Gallery in Doylestown, Pa.!!!

Later....

Sunday, April 6, 2014

Mirgration - Day Seven, Eight & Nine!

I added three days into one post. At this stage I'm doing little things everywhere. I did work on my foreground trees. I even snapped some shots of a stand of these trees we have in the back field. I needed a few caricaturist details that will help make it feel right.

I worked on horses, lots of horses. I left my lead horse for a fresh start yesterday.....I'm best, the first two or three hours in the morning and I want him at his best!

Day seven and eight
 
 Day nine
Day nine - detail upper trees
 Day nine
 Detail on foreground players - lead is looking good
Small detail issue with this group of horses - too vague for the rest
Day seven - simple solution, accentuated with black... now they feel right as a whole
End of day seven and eight
End of day nine

Until the 3rd panel is in the same stage, I can't really say these (2) panels are complete. Looking at it here, a few things on my right panel can be improved upon....perhaps now. 

Currently I have (20) days in this painting. Today is Sunday..... may study it a bit.....even work on it a bit, but most important, start thinking of the final panel and how will it end?  Pretty vague right now, so I'll stretch the next canvas......one thing I do know, it will take another eight or nine days.

Later....

Saturday, April 5, 2014

Totally unrelated - Riley is growing up

He's a year old, his ball went down the pit and he's working it! 

Oops! My ball is in the pit!
I didn't throw it!
Hurry up!
Please!
It took awhile but the old guy fished it out!

Friday, April 4, 2014

Migration - Day Six

Day six was all about trees. Since I have no real reference here, my only plan is to just "go with it".  The canvas is dry enough to remove anything I don't care for.

 Starting point from yesterday

Nuts! While adding structure, I ended up with (2) branches running parallel - too obvious.


My solution was to convert my larger left branch into a separate tree with the idea it would project forward establishing another dimension layer.......typical situation in this environment.

I like my upper structure.

Baseline is shaping up.

Studio shot from my desk.

7
This is where I ended up at days end. Not a bad photo.. fairly close to how it looks in morning light. Out of steam.....time to play ball with Riley and cop a nap!

Later....

Thursday, April 3, 2014

Migration- Day five

I noticed some colours got muddy at the base of my new co-star.....colour will fix that...could become a plus before the day is out......perhaps not too!

Object - cover the white canvas
895-5 detail - mud is improving a bit!

This session went faster than expected. I ended up with some time to restock the refrigerator and work on a little colt just above my black stallion...I also used lamp black more that once in this painting with good results. Not a colour I get to use often anymore. I like the sharp contrast here, plus he stops you from leaving the canvas....wonderful left anchor to Migration. My tree baseline found a solution along the way as I knew it would.

 895/894 Cleaned up version of panels 1 & 2 of Migration

Time to study the overall painting.  It has lots of areas to work on and it's dry, so anything I don't like can be easily removed. One of the challenges will be my foreground tree - may have to cover some stuff I really like for the greater good......I like how the base works tho.

Later...........

Wednesday, April 2, 2014

Migration - Day Four

I only had the morning to paint so I stayed within my red line goal plan. Five more horses are now more than blocked in......only 3 or 4 more to go on this panel. Once they are all in place I can fine-tune each one. I'm starting to think more about how my foreground trees will be treated at the baseline. At this point they could land anywhere amongst my feature horses or be concealed by ground fog....mmmm.

895-4 panel 1 & 2 of 3

SOME DETAILS
 
 Horses merging into next panel - clearly more fine-tuning ahead

Our star of this panel - may have to make him glow a bit!

 Red line goal plan

I have at least (3) more feature horses left in this group plus sort out my trees base.  Tomorrow will be an important session because decisions will have to be made or emerge on their own which they sometimes do.

Later.........

Tuesday, April 1, 2014

Migration - Day three

Another grey day with lots of rain.....studio lights again. I filled in my red line plan by starting early. Went a full (8) hours painting background horses, fog and messed with trees; basically working background. In this situation I don't want to over detail my horses so they are a bit more than blocked in.....some could get scrapped or moved, colours changed; all depending on what happens in my foreground in the coming days.

895-3 Migration - 1 & 2 of 3

Detail

The foreground trees are doing their job of creating the illusion of scale and depth as my distant horses make their way to the main herd.

Red line plan for tomorrow

Up until now, my time was spent working on background adding interest leading to my main players.

Later....



Monday, March 31, 2014

Migration - Day Two

I came down with a flu bug a few days ago but being male decided to ignore it! Luckily it wasn't a bad painting day, about 5 hours, my typical day, only I started earlier than normal. It was dark and rainy all day so exterior light was useless. As it turned out, good, because colour matching was easier with my connecting panel, plus my palette is still fresh in my mind.

895-2 Migration - panel 1 & 2 of 3

There are many advantages of  big paintings. They allow room to move along faster than normal. Shapes form easier too. As you can see I'm almost down to my far horizon. The painting is open enough, so I can still move around my trees and enhance my fog effect at will.

Detail showing my painting plan for tomorrow.

My red lines give me a basic starting point in the morning and my painting goal for the day. The foreground clump of trees is an unknown commodity right now....how much and how focused will it be or need to be? Time will tell.........I just know it needs to be there because its a very important scale marker if I want to engage my viewer with a feel of being there....the closer I make these trees the better.

Later....

Sunday, March 30, 2014

The mood struck - Migration left panel - day one

I woke up thinking about this painting! Like an unfinished book, I got curious about the ending!

I
 Stretch a panel 66x60
Hughes Easel-setup
 good vertical movement
Good side movement

The Hughes easel is everything and more than advertized, a very capable contraption, very user friendly, almost intuitive to your needs as a painter!

Key player plan
Red line #4 & #5 will establish a triangle composition leading to a group of horses, each with a key player
 Sepia connection - beginning of a triangle composition using my horses in combination with the sun

#4 leads to my most important player amongst all horses on this panel

I'll post progress daily.

Later....,