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Motian, acrylic on linen on panel, 14 by 11 in., 2012.

Hot off the easel (as in: this week, ). Painted down in the basement, finished before I fully realized what it reminded me of. That “what” was actually sound, sound made by a “who.” Who: the late great Paul Motian (R.I.P.). Available at tomorrow’s CCAD Winter Art Sale.

Harpo, oil on linen on panel, 16 by 12 in., 2012.

From this summer’s series of new paintings, and available for sale this Saturday (12/1/12) at the mighty CCAD Winter Art Sale. I’m honored to be showing & selling at this event again this year. If you’re a Columbus local, you can’t beat the Sale for its one-two punch:

  1. Great art gifts for the Holidays, sold directly by the local artists who make them (and who retain all of the proceeds from their work), and
  2. The event admission fees fund CCAD student scholarships.
Proceeds from the sales of my work, as always, go to fill the food bowl of this poor waif:

The Red Cloud, The Blue Sky (after Mondrian), oil on canvas, 36 by 48 in., 2012.

An anomaly in this summer’s series of new paintings, this started as a reworking of an early painting by Piet Mondrian that I admire. It became a two-part challenge: (1) keep the palette limited and (2) keep the composition active. I’ve been staring at it for a couple months now, but the longer I look at it, the redder and bluer it gets.

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Olafur Eliasson, The Weather Project

In this installation, The Weather Project, representations of the sun and sky dominate the expanse of the Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space. A glance overhead, to see where the mist might escape, reveals that the ceiling of the Turbine Hall has disappeared, replaced by a reflection of the space below. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection. Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colours other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape. (via)

Redshift, oil on linen on panel, 14 x 11 in., 2012.

Aiming for dynamic speed, I added a flat blade back into the tool kit for this summer’s paintings. Its hard edge (in this case, a 79-cent hardware store putty knife– never overpay for art supplies) keeps me from fussing too much with the materials: smear the color notes around too much and you end up with squishy mud, not sharp distinction. Those shapes need to stay sharp in order to rise above the soft bleeds of the first layer. The result: the kind of complex surface I love to look at (& keep wanting to touch, even when it’s finished).

Robert Motherwell, Chi Ama, Crede, oil on canvas, 82 x 141 in., 1962.


Cy Twombly. Untitled, 2001. Acrylic, wax crayon, pencil and collage, 48-3/4 x 35”

J.M.W. Turner, The Burning of the Houses of Parliament [the one at the Cleveland Museum of Art], oil on canvas, 92.7 × 123 cm, 1835.

Raconteur, oil on linen on panel, 12 x 9 in., 2012.

Painted in three days, one layer each day, starting with washes of Terre Verte and Alizarin Crimson, finishing with impasto passages of Black Roman Earth and King’s Blue (and others). I had no starting plan, instead I actively adjusted the composition as the work progressed. This painting set the pace and procedures for the rest of this season’s work. A wonderful omen.