I think making self portraits is a good practice as an artist. It serves as a benchmark to gauge skill and changing concerns in technique and color. Rembrandt famously made 100 self portraits (that we know of), and it’s interesting to notice the changes in techniques and age in each one.
The last couple days I painted a self portrait, and I think it’s finished. It’s oil on wood and measures 12×12 inches.
In the next few weeks as classes wind down this semester, I’m reintroducing coaching for artists. This will be in a new format, and you’ll be able to easily book coaching calls here. If you know an artist who’s feeling creatively stuck or needs some art-related guidance, can you let them know?
It’s that time of year… the weather is getting warmer, the bike rides are getting faster, and the end of the school year is in sight! With the spring semester winding down soon, my schedule will open up for commissions again. This spring I will be available for 1-2 commissioned projects.
The surfers, skiers, and sprinter paintings below are three commissioned paintings I made for a friend a few years ago. I really enjoyed making these – not only because they all feature athletes, but also because I could play with the elements of paintings that I really dig: surprising colors, juicy paint, and big bold shapes.
Check out my commissions page to learn more about the process of making custom artwork and to see other commissioned paintings I’ve made in the past. And email me if this sounds interesting to you. Cheers!
A couple of weeks ago I gave a talk at The Art Gallery at Congdon Yards. We talked about my background, inspiration, processes, and techniques, and the group had some great questions. The gallery was kind enough to film the event and make a video, and you can watch the talk and Q&A below.
My artwork is on display there during my exhibition entitled A Place of Leaves and Earth from Jan. 25 – April 19.
Join me this Thursday at The Art Gallery at Congdon Yards for a one-hour discussion. We’ll be talking about inspiration, techniques, and processes for my exhibit, “A Place of Leaves and Earth,” currently on display at the gallery. The program is free and open to the public, and there will be coffee and doughnuts! Registration is required.
I recently made a series of 6 sculptures using encaustic. Encaustic paint is made by melting wax and damar crystals, and mixing them with pigments for color. Each painted layer then has to be fused to the layers underneath it by liquifying the surface with a propane torch.
The materials I used are: encaustic (wax, pigment, damar resin), cardboard, galvanized steel, and polyvinyl acetate (a fancy way of saying Elmer’s Glue or white glue).
I documented the process from ideation to completion, and you can scroll down to see it from start to finish.
The sculptures are on view and available from the Art Gallery at Congdon Yards in High Point, NC till April 19th.
My sketchbook a couple months ago: the sculpture shape ideas (right) and color combination ideas for sculptures (all over the place). There’s also a drawing for a painting (top left), planning for this exhibit (bottom left), and random ink marks
Drawing a shape on cardboard
Cutting out shapes using an X-acto blade
Cutting and shaping steel wire for the legs and base. The base pieces are also shown
Testing the steel legs and base for balance
Clamping and drying the sculptures. Here the body shape has been attached to steel legs, which has been sandwiched between 2 base plates.
Some of the sculptures after I filled in all the edges with Golden Light Modeling Paste. This way I have a nice smooth, not rough cardboard-y, edge. I sanded and shaped all the edges.
Priming the pieces using R&F Encaustic Gesso for a nice smooth absorbent surface. I sanded the surfaces before and after.
Four of the sculptures primed and ready to go
My encaustic hotplates with melted unmixed colors in the big pots and mixed colors in the lids. The big containers contain clear medium and white.
Six finished encaustic sculptures
In this video you can watch how I fuse the encaustic layer using a propane torch.
I’m in love with my new (to me) weaving loom. I put off buying a floor loom after starting to weave with a simpler kind of loom a few of years ago. Then after taking an experimental weaving and drawing workshop this summer at Penland School of Craft, I ended up going deep in the weaving rabbit hole, and took the plunge a couple weeks ago with this particular floor loom. This one is a four-shaft loom built like a tank because it’s made to be able to weave rugs on it.
I’m learning more complex weaving structures now, and while setup and troubleshooting patterns like this one are slow, in the process of fixing mistakes I’m learning a lot. Taking the time to do things right is worth it. The weaving is going smoothly and it is magical to see the pattern appear on fabric. As I do this, I’m getting ideas and I plan to use weaving techniques to make some large-scale installations combined with sound and video in some upcoming exhibits… Ultimately I hope to figure out a way to make work that pairs my paintings and textiles in a way that makes sense conceptually and visually.
This is A German Bird’s Eye I from Davison’s A Handweaver’s Pattern Book.
I went all in with the weaving/fibers and took everything off one of my studio walls to build yarn storage. My father in law and partner built these shelves with me and I must say that seeing all these yarn colors neatly arranged brings me lots of satisfaction and gets my creative juices going!
And in other news, Saatchi Art is featuring my work in their New This Week selection of artists. You can see Of stones and earth and air with an interesting pairing of works here.
“Of Stones and Earth and Air,” 2019, oil on canvas, 60 x 72 inches
I recently finished this painting of people and cars at a dirt track, and thought you might like to see how it progressed from start to finish. For reference, I used photos I took at the local county fair in Winston-Salem, NC. I combined parts of the images, then made changes to that and invented other bits.
In this video, I’ll show you the different paint layers and explain what’s happening in each one.
My painting installation The space between the clouds is headed to South Carolina for the ArtFields competition. I’m excited to see my work among many others at this art festival at the end of April. All the work there is juried into this festival/exhibition/competition, so I’m humbled to be in the company of this group of artists.
At the end of March I delivered the paintings at the Jones Carter Gallery to be installed and there and took a few photos of the process:
And here are the paintings installed as photographed by a visitor:
What’s happening in the studio these days… These are some works in progress on the wall. The pieces on the sides are finished and the one in the middle is in the early stages of painting.
Last month I shared with you that I started painting people again. You can see the first four paintings of the series below. I’m now working on the fifth painting of six I planned to make. After I make six, I’ll decide if I’m going to continue making them. At this point, I’m loving the process, I’m learning a lot and I see no reason to stop working figuratively in the near future. It’s interesting to note that I was primarily painting people until a semester into graduate school when I began exploring abstraction. This was back in 2002, and over the years every time I tried making figurative work again, it just didn’t feel right.
This time feels different. The way I’m approaching painting the figures and establishing their relationship to the spaces around them, the way I’m layering the paint and using color feels like things I’ve been thinking of for the last 2 decades are clicking.
I’m interested in what happens when the figures aren’t looking out at us, when they look away or toward someone or something off the edge of the painting. The paintings feel like a moment within time, like something has just happened before we were privy to the moment in the painting and it will continue beyond the painting. The people occupy outside spaces that are ambiguous, sometimes deep and three-dimensional and other time more geometric and on the surface of the painting. I’m playing with colors, noticing which ones create interesting optical effects, particularly on the depth portrayed in the painting. The paintings are mysterious and a little weird and that feels like the right place for me right now.
Four recent paintings on my studio wall
Looking at the image of my studio above and of the painting Pilot Mountain 1 below, you’ll notice similar colors and compositions. Seeing my work from different periods like this together reminds me that I’ve been interested in the same things visually for a long time. I think it’s the subject matter thats most different.
Pilot Mountain 1 is available from my shop. It’s one of the paintings inspired by my favorite place to walk and run, Pilot Mountain.
Pilot Mountain 1, acrylic and oil on panel, 20 x 20 inches, 2018
