art show at the Cowfish in Eugene!
I could say so much more about today and tonight if I wasn’t so tired!
Spent the day stretching nine foot by six foot canvasses with the help of the wonderful Deb, then hung everything with the help of the magical Shawn, then lots of my favorite people showed up to check it all out… I’m just going to post photos of the process and the day and night. This show is hanging at Cowfish until the end of October, if you are in the neighborhood feel free to drop in and stand next to the gigantic bear.
Three projects at a time
I’m back east in Spokane for a few weeks. In the time I’m here, I have to:
- finish the illustrations for the Horrors expanded edition, and write the text, and get it to the publisher
- finish writing the handout material for the seminar I’m teaching at the Portland Tattoo Expo
- glaze and prep, and make from scratch as well, enough large-scale predatory animal paintings to fill the gallery I have a show at for October in Eugene
- and also, pack and get ready to tattoo in Eugene, at the convention, and then Phoenix.
I leave October 1st and I won’t get home until the 26. It’s going to be a long trip full of events and work!
Here are some photos- small images from the new book. A picture or two of the seminar prep work (kinda boring to look at but the seminar itself will be out of this goddamn world, you should go preregister for it, because it’ll cost a little more if you just show up on the day)- and pictures of the lifesized predators.
Now, I had some of this work done from before- the seminar text I had written already, but not the slideshow or the handouts. I had the illustrations sketched, but in pencil and messy, not inked or scanned. I had copious notes for the book text but nothing completed or proofread. I had the shark nearly finished and the grolar bear and wolf sketched out as underpaintings. But everything else? I’ve had to work every day I’ve been home, sometimes pulling ten hour days on these projects. Not to mention I have another show going on all this month at a gallery in Seattle! I spent last month’s days off prepping for that.
Once I leave, I have no days off until halfway through the month. And then I will spend those days driving.
It’s going to be a long and rough road until November, but I think I can do it all. Then I can relax for two weeks. Then I’ll be in Seattle at the shop there for two weeks…and then I will not be working in December. Like, at all. Maybe on personal little things but NO big projects like this. It’ll be a nice break and I think my brain will need it by then.
Hope to see you guys at one of my stops on this trip!
(I’m totally booked for the trip for tattoos- except for one day in Redding, and one day in Phoenix. If nobody wants in I’m gonna take those days off, though. !!!)
"bait" and "debt" process photos
- In art, artwork, events, original art, painting,
Some new works for the art show at True Love Gallery for September!
Start to finish. Bait is watercolor on arches coldpress, 22×30″. Debt is mixed media, watercolor, ground and oil on canvas, 30×40″.
If you’re in Seattle this coming month, stop by and check them out in person.
sunburn memory process photos
- In art, artwork, original art, painting, prints, step by step,
Finished. below, the steps to completion and process shots. (I drink coffee in the “paint water” mug, and use the “not paint water” mug for paint water. This actually works and I haven’t drunk my paint water since- reverse psychology or something.)
Mandala, or mandorla?
I want to talk a little about why I paint and work with mandorlas rather than mandalas.
A mandala is a circular pattern, sometimes used ritually, which is built on radial symmetry. Each section of a mandala will be the same, drawing the eye into the center. The eye moves into the middle distance, being drawn past the paper or surface and off into what it perceives as a distant center. This is subconscious and happens because of the radial symmetry. We’re accustomed to seeing lines of perspective radiating from the distant horizon in art, so our eye interprets the center of a mandala as being far away (even if the artist has used every means to make it come forward at us, visually).
I think this is all fine and dandy. But-
Mathematically speaking, a mandala is based on the circle, a single-edged shape. They are often meant to represent wholeness or unity. A triangle has three edges, a square four, and so on. Each of these shapes, symbolically speaking, have their own meaning- their own particular use. For example, the pentagram has been used as a symbol for humanity. Arms, legs, head- making a five-pointed star. The symbolism of triangles with fertility (mother, father, child) or some kind of trinity of gods, is common. A square is often used to represent a church, an institution, the law. The circle, used as it is to represent oneness (since it is a shape constructed of one line) is well known among many religious traditions.
The mandorla? It’s really only used as a backdrop. As a containing symbol for other objects. I think, though, that it can stand on its own. It’s less often used, less the subject of an image, than a circle or a triangle. Hell, even seven-pointed stars are more common than a two-sided shape. Why is this?
originals are up for the holidays!
I’m listing originals. Everything I have on hand is being put up until the holidays, here: https://www.etsy.com/shop/resonanteyes
I won’t be doing this again for a while, so get em while they’re hot.
All of these will be for sale through january 15. If you want them by the holidays, order before december 12, though.
(prints and all my other things can be had at THIS page, right here.)