My attempt at pillage with sand and crushed granite was interesting. I tried stretching it and did not like it. I unstretched it but it lacks something compositionally. It is funny in a way because pillage, with it’s foldings does always seem to create sexually suggestive forms. This is the painting with details. I tried to keep it minimal.

Tonight I embark on the most frightening experience of my life. I have canvas in my bag and not much else. I take my walk this afternoon with me. Florida, Boston, Alaska, now oceanless Arizona. One month with all control lost.

From 50 to 49

I made a few minor changes on this canvas to remove the “dog face”. I still like the textures and movements brought to life by a new technique (pliage).


I started to re-work this piece by adding some minimalism to a heavy work I am thinking of placing more blanks in this it is not at all complete. I am also deciding if it should be a vertical or horizontal or if the two pieces need to be pushed together more.

This one is an attempt to combine my earlier technique of capturing debris line with the pliage technique by controlling my molding of the canvas. This is only a process photo however I plan to keep this simple if I can….. Hawaiian debris line at Makaha beach is the model for thisIMG_1455 2)


Winter workings

I suppose it is actually spring but it’s hard to say when it looks like this…….

I was searching for a guiding line or light in the glumish morning. I went to the beach. Both the beach and the road leading to the beach in Nikiski made me see a more gentle line that lead my eye along the coast and the road. It felt peaceful.

My first piece “Found” was started by crinkeling an unstretched unprimed canvas and painting the exposed areas. I did this three or four times. In my research on Simon Hantai and his use of pliage or folding. The end product appeared to be a mix of a Matisse work mixed with a tropical sarong. It did not speak to me, I think, because it was not mine. IMG_1402

This morning I sat in front of  the two of the pliage pieces looking for the guiding line just as I had at the beach. I looked at photos from my walk as I examined the painting and slowly began to see the lines. By leaving the areas left by paint I tried to pull out these lines by working with the empty canvas that surrounded the random pliage. I felt as if my two experiments came to be me. Here are the results on the first work:

The second piece I call “Found 2”. In addition to the pliage technique, this painting includes sand mixed with clear media. I spread at random on the piece by throwing the mixture on the canvas while it was on the ground then brushing it into the surface from above. I used the same technique as “Found” to highlight the paths I found. These seem to be an adequate representation of winter here drifting, random, and unpredictable yet still serene and at times hopeful. (Note: an observer noticed something that looked like a puppy in the upper right hand part of this. I plan to work that out. ALways good to have a second pair of eyes.)


Studio: February

February was a cold month that brought the chill into March. Univiting as the temperatures have been, the beach and the snow are lovely. I have been having difficulty translating the winter beach into my paintings. It makes me realize the importance the running component is in my work as the beach will not allow for the activity. Perhaps I need to focus more on the tranquil. Here are my large pieces.


Detail of Lost Line

For this I experimented with crushed granite and gold powder. I also used my usuals. I don’t know if it’s done but the lack of debris in the winter freeze has left me undirected. The pushing into the left by lighter values represents a hope for joy and balance.


This is experimenting with crushed shells with a more natural fell. I create a purposely delineated scene. The photo is a beach in Florida I ran on during my stay.


This piece has potential, It speaks to me saying that sometimes the body exists even when everything is numb. Likewise, the beach is still there even when are dreary. We must find the beauty it that which keeps us going when everything is dull. The mid-split is intense and the two sides of bleakness come together in rhythm and complexity and a subtle brightness. The discomfort caused by the split also draws attention to the lifeline of the painting. I may continue working this.

My quest for and ethical painting is difficult. Local/natural supplies seem hard to come by and the research is a little hard to follow. A different approach may be necissary to find more information such as, stories of injustice involving the production of paints etc.

I still feel the relationship of the natural and toxic is a valid conceptualism for our relationship to the earth however, I don’t want to contribute to any human injustice.