between here and there


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Monday Work

20141117-091622.jpg

Residue from last night’s sky.


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2012 monoprints I

2102_01, untitled

2102_01, untitled

2012-02, untitled, 22x30

2012-02, untitled, 22×30

2012-04, untitled, 22x30

2012-04, untitled, 22×30

2012-05, untitled, 22x30

2012-05, untitled, 22×30

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2012-06,untitled, 22x30, private collection

2012-06,untitled, 22×30, private collection

2012, 07, rheingeld, 22x30

2012, 07, rheingeld, 22×30

1012-08, untitled, sold, 22X30

2012-08, untitled, sold, 22X30

If you have been following my blog you have seen some of the mono prints I have been working on. In the Gallery Section of the blog I will post my work. The pieces are originals, not a print series, and they are for sale. If you want to learn more about them, the price, or process contact me.


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Hands

making the world

making the world

A friend of mine recently asked if I indeed use my hands to paint and if so, why. I have given this fact , that I use my hands to paint, some thought and can simply say that using my hands is more direct and sensual than a brush. Perhaps it’s my lack of being able to control the brush to move paint around . Lack of practice. Lack of patience . But then if I get the visual results I seek with the use of my hands why not simply use my hands (and fingers)? I have always used my hands and fingers to manipulate two-dimensional medium. The work feels more real to me this way. I believe I am more directly involved in the creation of the work because I can feel the materials that make the work. As in molding clay, or folding paper. Pencil over the computer perhaps. I also appreciate the remnants and presence of what makes the work. Fingerprints and drags of knuckles across paint. Rather than seek to create work that hides its production method I like the connectivity between what is made and what results. For instance, the spoke shave or chisel for wood work over a highly sanded piece of smooth wood where all obvious marks of hand disappear except the obvious smoothness that results.

I do not reject the paint brush or any other tools that assist the creation of work. But I seek to retain the active memory of our presence when creating art. Sharing ourselves with the rest of humanity.


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Color wins

Winter on the way home

Winter on the way home

Of course color in the world influences me. I see it in the world and then I imagine it in my head. Mixing the color to match what is in my head is the challenge. And when I find that color it’s like finding a friend I have been looking for all of my life .

Winter Horizon, Monoprint, 2013

Winter Horizon, Monoprint, 2013


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Inner and Outer Landscape

monoprints at the Grocery

monoprints at the Grocery

After Baton Rouge my press traveled with me back to Bozeman Montana. Between Summer and Fall Remote Studio I started making monoprints. Actually, whenever I can, I paint. A few weeks ago I took my monoprints to EJ Engler’s gallery space to look at the work all at one time.

Friends often ask what I am painting. How I choose colors. Are they landscapes….While my work is never directly representational (this to that), what I can recognize is that my work explores my inner landscape and the landscape I experience as I move through the world. Feeling and intuition and how color defines these is what guides my work.

The opportunity to look at my work all at one time allowed me to trace technique development and recognize colors that resonate within me, just as we can see in Mark Rothko’s work for instance.


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New ways of seeing

press, ready to rock

press, ready to rock

When I was in graduate school at Harvard I took a series of printing classes at the Carpenter Center. My first teacher in print making was Michael Mazur. He taught us basic techniques for printing, etching, monotypes….After Mazur’s class I took additional courses focusing on monotype. Monotype is the printing process that most closely resembles painting. Each print is an original, there are no duplications or series as can occur in etching. A painting is made on a plate and run through the press on paper.

When I presented my Masters Thesis in Architecture I simultaneously presented a series of monoprints completed while I was completing my architectural work. While I loved the freedom painting afforded me I walked away from the work. I didn’t take seriously the work I had completed in the Carpenter Center. My focus on architecture far out shadowed my focus on print making. But over the years a desire to paint kept in, a desire to express myself through a form that was only limited by my own imagination, materials and technique.

In January of 2012 I finally ordered a press and all of the supplies I needed to get started. 310 pounds is steel rollers, and printing bed was delivered to me in Baton Rouge where I was living at the time. And there I started. Remembering what I had learned over 20 years before.

The painting continues today. On plate and canvas. I am learning about myself. I am learning about the world. How I see the world, how I communicate with

the world in Two-dimensions.