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Studio day

Update: The large unicorn at the The Tree House, it’s the studio behind Sis and Moons. Come by and visit any time, Alpharetta, Ga.Small dogs running

Here is one of the running dogs, lots of work left. Unicorn being followed by rabbits and dogs.

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Working and learning on large 11’ x 14’ crappie paper.

Hand full of Makers and some big paper.

Sheets of blank paper taller than your thumb and to big for my backpack all screaming at me to get to work. For some reason the tooth and feel of this book is more attractive to me than the super thick and slick Bristol board book, or the 140lb cold press watercolor paper book. I’ve figured it out… it’s the same paper (but way bigger) as my first sketchbooks back when I was at DASH (design and architect senior high) in Miami. Mr. Milanez would hand them out like candy. I would burn through them in a few weeks, chewing them up. Nothing great but I couldn’t get over the fact that they just handed you another one.

red marker, girl on a bike
Super Fresh, I always wanted to ride like this.

What’s in the bag?

A bag full of markers and this book that reeks of high school made it easier to let go and have fun. I brought this bag with me thinking that I was going to do rock some ill outlines, pieces and fill-in, but I couldn’t get that started. Here are some bikes, dogs and other things that did come out.

Bag of markers
BAG-O_MARKERS
Drawing of Dog on colorful sheet
Clem the dog napping next to me while I work. She gets lots of time in my book by always being near by.

Why using crappie materials could be a good thing.

Drawing on kinda crappie and large paper changes something. I think it’s the need to ‘finish’ that usually comes with larger formats. That feeling is gone. Another weird thing, the markers which are great for filling in large areas felt limited on this large format. I would fill the whole page with color in my 8×10 black book (ask me to show you). So line work became super important. I tried incorporating washes but the cheap paper didn’t like that. So line work is king!

Lesson learned.

I’m still learning that I have lots of hang-up. Getting free and removing myself from the work is going to take a minute, it was easier with this book. The more I work, the more I understand (maybe). I need to practice F$#king up stretched canvases. Media surface shouldn’t hinder the work, but stretched canvas vs found cardboard influences my work in profound ways. Similar to working on post-it notes.

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Late night doodles

Yes, up late and making marks on paper, today I’m rocking a red sharpie, a red dry erase and a red Windsor Newton watercolor maker. Dogs and peaceshocka for pages.

All tiny little thorny. Small micro dogs stitched and fat. Dogs thin tiny little… again and again.

lots of red. Peace, peace, peace, peace, peace, peace, peace, peace….all red then I switch to using a strange black ink brush pen, foam tip style… not my fave, it might be a bit dry.

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I had a dog, I named him “cow”, he was a happy dog.

Some of my paintings feature a dog. I like to use “Cow“, he was a big Black, white and tan dog. You can see him in the painting (BlueRoom, left, 2009). He is in the background and he is in the painting on the wall, laying down between the red chairs.

2009_BlueRoom_Left2

I did a piece dedicated to the dreams he might have had, he was a very active sleeper. I thought about it and tried to imagine what smells would look like. Below is a detail (Cow’s Dreamscape, 3of3, 2008) of Cow.

cowsDream3of3The  triptych has changed over time and givin me chances to re-imagine what it is like to see with your nose. Below is the triptych as it is now..

cowsDream1of3 cowsDream2of3 cowsDream3of3

 

 

 

 

 

 

The first panel was purchased by a collector in 2008 from the “Hive” gallery in LA. I loved the idea of the piece i created a new first panel. Below is the set as it was originally.

cowsDream0of3s cowsDream2of3 cowsDream3of3

 

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