I commonly experiment with presentation, especially during the infancy stages of a body of artwork. When I made this painting in 2012 I had really liked the idea of showcasing the raw material that I use as backgrounds. For this reason, I felt that it was important to leave the piece in its raw plank shape and forego a frame altogether. Thirty or so paintings later I’ve found that it may have worked at the time, but now the un-framed edges don’t quite fit in with the rest of the series.
This is a great example of how time and perspective can really inform past decisions and hopefully pave the way for new ones. I’ve framed out this piece in a way that is fitting for the cannon of other “Absolute” paintings and I’m quite happy with the results. Take a look at its new digs.
Absolute: Force. Oil on reclaimed red oak. 29 1/2″ x 8″. 2.29.12.
Absolute: Force (detail): Absolute: Force (detail) Oil on reclaimed red oak. 29 1/2″ x 8″. 2.29.12
Absolute: Force (detail). Oil on reclaimed red oak. 29 1/2″ x 8″. 2.29.12
Today I debut my latest painting, Absolute: Centered. Two concentric circles, aged and worn looking, hide behind a piece of masking tape and locust tree leaves. The frame, like most all my frames, is handmade. Quarter sawn oak has a unique figure that I felt matched the aesthetic undulations in the work itself.
Nail holes, gouged scarring, and rough mill marks add character to the background wood. The cool blue base color offers a rare opportunity to use orange paint (which tends to blend in if the natural wood color is present).
I can already tell that this piece is an exciting transitional piece. Enthusiasm builds as I anticipate what direction this will take me.
Today I finished documenting the latest painting in my Absolute series. Layers of translucent crimson were painted on birdseye maple. This made a simple yet dynamic backdrop from which to build the rest of the piece.
It portrays a plump cherry dangling above a vertical white stripe. A series of overlapping translucent shapes help frame, focus, and add to an already rich collection of symbols.
Pull up a stool, put a few quarters in the jukebox, and let me pour you a tall glass of soul. Today I debut my latest painting, “Absolute: Struggle”. That’s right, we’re about to get our blues on and it’s never been so blood red.
“Absolute: Struggle” ain’t your run of the mill moody-broody piece that emotes for the sake of being dark. That’s not my style. No, this piece ranks among my most pure soul-inspired paintings to date. It’s part of my deep blues repertoire. And I feel like the most potent blues aren’t merely explorations in pain, but rather a catharsis by the trumpeting of hope through tribulation. For every edge of despair there’s a modicum of pure unbridled exaltation in how one can still feel deeply.
This is one of the absolutes in our lives – that we can (and often do) have a duality of conflicting emotions that are so pervasively deep and yet so polar opposite. I set out to portray this abstract concept in this painting. Like with all blues, nobody wants to hear your song if it’s not a self-portrait of soul. So swill your spirits and scoot closer to the bar. This solo continues after the image.