Plodding, a Case of Novice Steps

It’s nerve wracking at the beginning, meeting the models, I mean. Soon I shall render their muscle and bone (sounds medieval cruel doesn’t it) trace out sinew and blood vessels. I shall note the textures of skin and the imperfections of age, the stretch marks, those sagging eyelids. hooding bright brown eyes.

I shall be a novice at drawing horses in horse country America. What present electric titillation to be near them, to five-sense them decades removed from my first magnetic connection to them, knowing how ancestors kept and bred horses and their kin, and how in a further sense this mob gave me their okay making their bold self-introductions.  Then,  seeming to put my energy and excitement at ease they went to own tasks.

They took my measure and made no fuss about me the remainder of my studio. Unremarkable, another random biped.

Incidental as I may’ve  been, I still enjoy my initiate status. I am thrilled make each meeting. Everything is a possibility. I shall not forget to keep that jewel for myself forever. Naif or old-salt, every day is full of opportunity. And of golden surprises.

Accepted by horses. It should be in my Artist’s statement.

 

 

 

 

Late Year Painting in the Wild

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Acrylic on gessoed panel 9 x 12 inches, 23 x 30.5 centimeters

 

Acrylic painting is usually straight forward en plain air. Take a prepared canvas or panel or two in my kit. Then, make a sketch and keep going until done.

In Autumn the occasional warm day invites a jaunt to the woods and my motivation goes along for the ride.

Most times of the year I am used to setting down that wonderful light on a surface, it is fleeting, the task is capturing that glowing brilliance that makes the world seem to come alive even more. I pre-mix paint anticipating it. I watch the clouds higher and middle for clues of their courses and the winds lower still for what might be revealed or concealed.

I will use a camera, but only for references.

Now, in the late weeks of the year I get ready for the gloom,  those fading lights, any rising mists even. It is winter light is fickler, tricky, and lovely.

In the wild I take what comes.

Motivation remains speechless, but close and warm, like a companionable accomplice.

 

A Short Analysis Of Art Making

Artists and Art

I am able to respond to Art Making in several ways.

I am the “who”, as well as a single “how” and the only “why” I care about related to or concerned of my Art. Pretty much the same for Artists from the dawn of humans till you read this essay.

I am the actuator, the actor that makes the material world.

Art for its own sake. 

Purpose: to contribute to the long pedigree of human created Art, for the humans of Art—Artists, no audience in mind, mine, well it’s always and only “for the ages”, beyond mere decoration, maybe trophy-like.

Focused Art that others relate to, as in popular culture. 

Purposes: fun, formal and informal consumption, revenue.

Personal Art, for my use.

Purposes: for fun of creating, informal consumption.

Commissions, sometimes for promises, occasionally for hire. 

Purposes:  to generate revenue, for fun, formal consumption.

Surprised Artist, when someone offers to pay money for any of the above.  

I am the maker.

I am the conceiver, builder of themes, motifs and the like to make the material in dimensions.

Employ tools and techniques using some media or materials or means of manipulating matter for expressive, demonstrable, presentational aims of the  translating a conceptual or imagined into dimensional real space-time or through invented devices (computer monitor, film screen) or contrived settings (gardens).

I am the director.

I am the editor, auditor, decision-maker pursuing a goal.

Art is energetic. The formative drive (working in progress toward a final goal) and summative drive (completed project) where the Artist is the  initiator of various  types, renditions, versions, iterations, variations within a system of Art (watercolor) and through a medium of visual communication (painting, graffiti, prototype construction). Then hang the finished work, staple it to a board, show it local it on social media, show it in public places, and set the Art free.

Collect some funds to do it all over again.

Artist as an aficionado or as an analyst or as a critic or as an apologist— some sort of offering insight to focus on,  improved understanding, enhanced experience, or other qualitative investigational activities.

This is partially the “why” of Art.

I am the final guide.

So, the Artist is maker, director, and final guide of their Art.

+/- 381 words

No Action

All the varied “sights” open to my senses happen to crowd all of my  other senses. I use all my senses, the usual plus more when, for instance, as I view a scene, a landscape. Soon, I have  a lot of inputs and, frankly, it’s kind of cool. Then it isn’t. I am ‘not paying attention”.

I am not “distracted”, or “un-focused”. I am not giving my attention the voltage needed for me to relate to the landscape-as-visual input. In front of me.

Taking photos is fine but for me it’s a distraction, a bit lazy of me, and I miss so much fiddling with the mechanisms. Interaction I don’t need. I may take one photo reference of the whole landscape or something interesting. At most two.

The rest goes into my memory. The scene. So when I’m on a photography or sketching mission those actions are what I do. If I want to scout a location employ every tool at my disposal to “capture” selections of the site(s), where I am involved, the “space” if you will.

Otherwise I simply “am”. On a chair. Seeing. No action. Aware.

I hope your work and joy makes you free,

Lemuel

blue sky photography

Photo by Lisa Fotios on Pexels.com

The Artist Series, Doing Similar, Consisently

I reckoned the idea of a series might have a bit to do with consistency of action.

Along with a theme, color selection, format, composition, and a bunch more but I want to emphasise concept here.

The produce of Art speaks for itself on most of the above all but on concept.

Above I begin the concept “the first realisation of no turning back”.

Kindest wishes,

Lemuel

“Spring Border Plants, the Remnants”

“The Remnants”

I had some time to wait for a new pulley belt to arrive, still hours before lunch.

Very satisfying to make a plein air drawing of a tiny landscape whilst the equipment was out of commission.

Perhaps the topography and geography is a bit more varied and interesting seen closer at hand than sitting on a great hulking mowing machine.

My observation /impression of the shaded greens, any spots of emerald, splashes of gold, and coy pink coral changed on the whim of the breeze.

Graphite on paper, ~5.75 x 3.75 in, 14.5 x 9.5 cm.

No photograph but it would be fun as a painting.

Best wishes,

Lemuel

09/05/19

Keeping a Mess from Happening

Keeping a Mess from Happening

Sorting Hat? In the shop?

Nope, but a sort of way to channel detritus, flotsam, and jetsam toward rightful places.

This is my simple way to drop off things from a project that need put back in their place, my “lazy box”.

The idea is to place items or “sorts”, mostly likes with likes in one designated zone.

That goal will see mates to socks with socks, and sockets with sockets all ready to be returned to the tool box or drawer.

Put up remains in the first place but this is the “lazy box” it is finite and in one spot. It is a crutch for me but good shop-floor and visual control.

I have put in the lazy box a few smaller clear containers, zippy bags, and twist ties to make an organized container for containers for “left-overs” processing.

So now a forgetful cleaner and nonneat freak can get a break and avoid being a complete slob and look good for organizing and planning.

All Winners!

Lemuel

06 April 2019