Here are some progress images from a new 3×4 foot painting where I’m layering abstractions based loosely on photos from my walks in nature.
I’ve been interested in how music influences the improvisational aspects of my mark making, and as such I am making this painting while listening to a single album on repeat – Makaya McCraven’s “In the Moment” (which is itself built from pure improvisation). So far so good.
I have just started exploring my way into a new painting concept I’m calling “Obverstractions.” In this series I am attempting to marry my bent toward abstraction with my passion for nature and observationally driven works, balancing these few facts about myself as an artist:
I feel most “at home” and connected to my work when it’s abstract. Painting with observation as a starting point works for me.. Observing the natural world closely is my biggest inspiration. I desire to connect with a “live,” improvisational energy while painting
My first couple of small attempts have proved to be instructive and validating. I’ll write more about my process as the series progresses.
Obverstraction #2. 11×14 inches, acrylic on wood.
I was encouraged by the results of the first study (below) and doubly encouraged by the second (above). To me, #2 is more successful as it arrives closer to the destination I envisioned while also departing furthest from the initial observation. I am using my mindfulness training as a compass for doing these works, and I felt that with #2 I was able to embrace uncertainty more and get into a more connected improvisational state while still channeling the subject (or at least my view of it).
Obverstraction #1. 10×10 inches, acrylic on wood.
Stay tuned for more of this work. I’d love to hear what you think of it.
In late June I started writing songs after a dry spell of many years. The melodies and the lyrics are just popping up and I am letting them, giving them a space to be alive and change and grow. I am tending to them as I would a poem or any writing, but the process is different—a fluid exchange between set ideas and improvisation. It often starts with a melody and a couplet or two, and then expands as the music takes shape, because the written words on the page don’t tell the whole story.
The Roller Coaster is the third “finished” song this month, the first recording I want to share. It all started out with four lines that didn’t make it to the finished work. Those (ultimately discarded) lines formed the framework of the melody, which gave birth to the first lines of the finished song (and the concept as a whole). It was written over the course of a week, and this recording (the third in the process) was made on July 31st.
Musically, I’m in a strange place. My ear is better than it’s ever been, and my vision for what I want to do is clear. But i’m out of practice, and it takes real work to get what I hear in my brain out onto the tape. When it happens successfully, It’s a true and absolute joy. One thing I’ve been surprised by is how much the skills i’ve learned over the past several years doing non-music projects have made me a better songwriter. Things like: working incrementally and iteratively, taking breaks when things aren’t working, putting time in when it feels right AND when it doesn’t, practicing, accepting where I’m at, Taking risks.
My goal is to release a record before the year is through, but right now I’m focused on shepherding these songs into the world. I have faith that they will all come together in a way that makes sense to me, and hope that I can form them into a work that resonates with others, too.
The scene of a hundred or more “rollercoaster” takes.
The Roller Coaster
I’ve been getting high again just to come back down. All the turns you took me in turned me inside out.
As we fall, that’s all there is— I can’t even see. At the top I’m losing it, I can barely breathe.
Feels like I am going to die as I strap on in to face the fear and feel what’s here, not what might have been.
I’ve had the Sayre Park painting hanging in the living room to observe for the past few weeks. It’s been a great reminder of the kind of work i don’t want to do. Through talking about this with Zion and Josiah last weekend, we decided it looked more interesting turned on its side. Once I did that, the painting was crying out to become an underpainting for something new.
A couple of days later, an artist named Katie Vernon posted a painting to her instagram that inspired me to start my new painting in a particular way. Here is her painting:
Last night I found just the right photo source for the new painting and got to work. I starting blocking white, then gray, then blue and brown and greenish grays. I made a few passes over it and really got into a flow and had a lot of fun. I’m absolutely loving the direction this took and I’m looking forward to digging back in to it.
Gestural landscape practice. 1 pass, 24 x 18 inches.
Working on freeing myself up a bit more, so I’m going to be making some low-risk, low-stakes landscapes on paper. I have some ideas about what i’ll do with these but I’ll discuss that when I actually do something. I’m thinking this needs one more pass before calling it “done.” This scene is inspired by a photograph I took on my hike to Chasm Lake, just after climbing above the treeline.