March 13, 2015
Things have been very exciting at my studio lately. I just got into two Galleries in New York. The Road Gallery in NYC and Sara Nightingale Gallery in the Hamptons. I will also have one of my images in Refresh Magazine soon! I have applied to a bunch of opportunities and I am just waiting on the results…
It feels good to be getting my art back on track. The past few years have been rough recovering from Lyme Disease. My energy and concentration is continuing to increase and I think it makes a huge difference in the quality of my work. I feel my work has more focus and intention. I am also starting to feel more connected to the art world, and just the world in general. Now that I am coming out of the fog cloud that Lyme created and I can look back on my experience with it and see how it has impacted my work.
I’ve been working on a new series based on a trip I took to eastern Oregon this Jan. The motivation for the new work came from wanting to create more depth in my work, and also from experiencing the passing of time while meditating. I spent most of my time over the last 4 years inadvertently meditating. My brain was too tired to think or worry so I really was just being in the present moment. I am very thankful for that experience because it makes me look at the world differently. Now I am able to slow down and notice the subtle things that change slowly over time: seasons changing, the light shifting, clouds passing…
I am just realizing that time plays a huge part in my work. I’ve always used the landscape to express my self, but looking back on my work I am using the landscape to express my relationship to time. I am becoming more and more interested in experiencing art that changes over a period of time. I think of how we experience music as a piece that unfolds and changes during a duration of time.
When I was in Iceland in 2011 I would collect seaweed and bring it back to my studio. I loved watching it dry out over the course of the day. I made a book out of bound pages of seaweed and let it dry out so it became unreadable.
I want to start creating more “slow art”. Art objects that change slowly over time, art that can be experienced over a period of time, or images who’s subtle details slowly become visible. So, stay tuned!
February 04, 2015
I am really excited about the 2014 Betty Bowan Award winner Ralph Pugay, who’s work I got to see at the SAM gallery when I delivered art there last month. Here is a little expert about his work:
“Pugay paints vignettes that seem humorous at first but address topics of anxiety, confusion, and misguided certainty. He characterizes the scenes in his works as “absurd situational narratives, constructed through the melding of incongruous symbols and ideas, where the mundane and fantastic converge”, creating allegories to engage contemporary modes of consciousness and morality.”
Here is one of my favorite pieces from the show titled “Rothkos in Space”:
The humor in Pugay’s work just makes me happy. I am always thinking, probably overthinking, about my art. What am I painting, and what does it mean, is the piece a success, will it sell, how does it fit into my body of work…..on and on and on. I realize that in trying to create a consistent body of work I’ve taken a bit of the fun out of painting. I am not exploring as much, or exploring in the confines of a strict set of rules that will produce similar pieces.
But when I do sit down to paint, and allow myself to “play” I paint lines that end up forming landscapes. Then I think about Rothko’s work. I saw his exhibit at the portland art museum a few years ago. It was interesting to see his early work, but his iconic “multiform” piece are where it’s at. Im was in awe of the space he could create on the canvas so it makes sense that his paintings would be floating in outer space in Pugay’s painting!
I am fascinated with outer space. I like thinking about it abstractly, which is easy since I have no formal training in physics or cosmology. It is incomprehensibly vast, and thinking about it somehow calms me. A few days ago I decided to explore space in my work. I don’t know how but I am excited to see what happens. I have also been thinking more about the things that occupy space that we can not see like gravity and molecules. But more specifically the things we can’t see that we don’t understand like dark matter and spirits. This takes me to Iceland.
I just recently re-applied to the SIM residency in Iceland. The one that I did in Feb. 2011. I’ve been wanting to go back ever since I left. Though I have tried to get my self excited to go to somewhere that I have never been, which is almost anywhere else in the world, I find myself trying to go back to Iceland. Whenever I hear the word “Iceland” I get so happy and excited, so why fight it, I need to go back there.
When I did my first residency, I became aware of what a magical place Iceland is. There is an unseen force at work on that island. Perhaps it could be explained geologically or maybe it really is because of the Hidden People, the spirits that live in the volcanic rocks. But there is something magical and unseen going on there and I need to go back to explore it.
(So I guess I need to come to some sort of conclusion that ties this all together so I can go paint)
I like art that makes me happy, and Iceland makes me happy. And it all has to do with creating space and things in space.
August 14, 2014
I’ve been pretty busy this summer playing with flashe paint and working on new paintings for my upcoming show this September at the Eastside Exchange building here in Portland. I am loving the new colors palette I get with the flashe paint. Lots of bright primary colors, and lots of blue. I’ve been playing with more layers and using different techniques to create textures:
This piece reminds me of the diagram in geology books showing the different layers of rocks. I am very excited for the opening, and am continuing to paint nonstop.
It’s great to create pieces when there is a destination for them. I gave myself plenty of time to work on these pieces and am really happy with the outcome. But inevitably there will always be great opportunities that pop up unexpectedly. A few weeks ago I received an email from the USA network asking if they could reproduce some of my work to be used in a scene in the Season 2 finally of their show “Graceland”. Thankfully they even offered to pay me! So if you watch “Graceland”, please keep an eye open for my art!
June 06, 2014
I have always been fascinated by Alaska. When I was a kid my next door neighbor’s cousins would come visit ever summer from Alaska. They would tell tales of walking to and from school in the winter with flashlights because it was so dark out, black out curtains for the summer because it was always daylight, and running into moose! I was hooked. I carried around a little puzzle piece of the 49th state as a reminder of my goal to go there. Thanks to a willing travel partner with plenty of frequent flier miles my dream came true!
Not only did I want to experience 24 hours of daylight, I wanted to see glaciers, and mountains and wildlife. I wanted to experience first hand the effects of global warming on the environment to gain inspiration for my art work.
We landed in Anchorage at 11:00pm to a sunset blazing red through the haze of smoke from a near by wild fire due to an unusually warm dry spring.
The next day we drove to Homer. The air was thick with smoke creating interesting colors reflecting off the water in Cook Inlet.
Here I am with my amazing travel companion in Homer. You can see the Portlock and Grewingk Glaciers spilling out of the Kanai Mountains across the Kachemak Bay. Luckily the winds were blowing in our favor and much of the smoke filled air cleared out of the souther part of the Kanai Peninsula. We spent two days exploring Homer. It has a cute little downtown with a great book store, Captain’s Coffee Roasters, and the Pratt Musuem.
We were off to Seward and Girdwood to see some glaciers and hike in the northernmost rain forest in the world.
Here at Exit Glacier, just outside of Seward, you can really see evidence of global warming. The drive into the valley carved out by the retreating glacier has date markers documenting it’s retreat since 1815.
A glacier that once filled a whole valley seems unimpressive as it now only peaks out from the Harding Ice Field above the mountains.
Our last stop in Alaska was to see the impressive 6 million acre Denali National Park.
We stayed in a sweet little cabin at the Perch Resort owned and operated by two brothers. My favorite part of the whole trip was eating fresh baked blueberry muffing for breakfast at their restaurant.
We never got to see Mt. McKinley due to cloud coverage (it’s usually cloudy 2 out of 3 days in the summer) but the park was still beautiful and impressive.
You don’t have to look far in Alaska to see wildlife. I was very excited driving into the park and spotting my first mamma moose with it’s little baby! They are very cute from the safety of your car, but they can be mean so don’t get too close!
Reindeer alert! Some Caribou stumbled across us as we were on a hike. They didn’t seem to bothered by humans.
We patiently waited at a safe distance while they foraged along the trail.
Denali was probably our favorite place and two days there wasn’t nearly enough time. When we go back to Alaska we plan on spending more time there and taking advantage of some of the great tours and activities inside the park. I would love to stay at the Perch again and go back tot he 49th state brewery for some great beer and the biggest portion of mac & cheese ever!
We headed back to Anchorage and spent our last day of vacation in the city. It was cold and rainy so we didn’t mind spending all day in the Anchorage Museum. It was an amazing museum with a mix of contemporary and traditional art by native and non-native artists. It also doubled as a science center with cool exhibits for children of all ages. The museum is a great place to learn the history of Alaska and of it’s native inhabitants. One exhibit in the musum’s Smithsonian Arctic Studies Center, Living Our Cultures, Sharing Our Heritage: The First Peoples of Alaska, shared how how each Alaska Native nation is unique–and how all are connected. One of my favorite quotes from the exhibit is from the Haida people: “…after the arrival of the Europeans in the late eighteenth century, we suffered great losses in population, cultural knowledge, and most of all self-esteem, self-worth and identity…It has been the art that has brought us back to our roots.”
There were so many great exhibits in this gem of a museum, but one exhibit really turned me on:
Gyre: The Plastic Ocean. I this it was a great coincidence that this exhibit happened to be showing and luckily I got to see it. I’ve been fascinated with the ocean gyres since I first heard about them. Also, David and I happened to be celebrating our one year anniversary in Alaska and our first date was at a science pub lecture on the Pacific Gyre. We had come full circle!
So, what happens is all the plastic that gets into the ocean, and doesn’t get washed up back on shore eventually breaks down into little pieces and gets stuck in these circular currents called gyres. Gross. The plastic that does wash back up onto the beaches gets eaten by birds and other marine life. And guess what? Plastic isn’t digestible.
“Midway” by Chris Jordan, digital photograph
There were so many great pieces of work in this exhibit, but this piece by Karen Larsen was my favorite. ”Preservation” relates to Karen’s childhood memories of farm life and about the connection we loose to the land, water and our sense of place when we opt for convenience.
Well folks, I leave you with the last image of Anchorage from my amazing trip! Alaska was amazing. Thanks for reading!
May 08, 2014
May is Lyme Disease Awareness month so I am dedicating this post to my experience with Chronic Lyme and the impact it had, and still has, on my art. I want to share my story, not only of my struggle with the Lyme, but my struggle with my life after Lyme. There is plenty of information out there on the symptoms of the disease. But what happens after Lyme? Most people never get better. Eventually you learn how to cope with Lyme and create a new life for yourself.
So, a brief history of my Lyme: I started having anxiety and chronic fatigue in 2005. Nothing severe enough to cause much alarm. In 2009 I had a very stressful year and I believe the stress weakened my immune system enough for the lyme to really take over. As the year got more stressful I began to notice something was really wrong. I couldn’t comprehend what I was reading or stay focused and organized. I had no energy and my right knee and elbow started hurting.
By Jan of 2010 I was having such bad anxiety I couldn’t eat or sleep and finally was so sick I had to go to urgent care. The doctors had no idea what was wrong with me and sent me home. Luckily I was seeing an amazing naturopath at the time, we spent about a month testing me for all sorts of things. When every test came back negative, she suggested I get tested for Lyme. Sure enough I tested positive.
I was very fortunate to have been diagnoses correctly so early on. A lot of people who have Lyme go untreated for years. Like me, they never realized they got bit by a tick. Because Lyme mimics so many other diseases it can be really hard to diagnose and tests can sometimes result in false positive or false negatives.
In March I started my 10 month treatment of antibiotics, but by the end of April I was so sick I could no longer get out of bed. The medicine that was supposed to cure me was wreaking havoc on my body.
I spent the next 8 months my life in bed. I had to give up every aspect of my life and focus on healing. Most days I struggled just to get out of bed and go to the bathroom. Gravity was my enemy. I was lucky if I could make it to the couch in my back yard studio. I would lay there looking at my art wondering how I ever had the energy to hold a paintbrush. How would I ever be well enough to paint again?
By October of 2010 I started to see a little improvement and by January of 2011 I was finally able to get off the antibiotics. I realized my road to recovery was only just beginning. Not only did my body have to recover, I had to start getting my life back together. I had to get back to the “old me”.
Here I am 4 years later, I still have symptoms and like most people who have chronic Lyme, I don’t know if I will ever fully recover. I finally realize I will never get back to the “old me”. I have learned to cope with Lyme and balance my life so I can stay as healthy as possible. But it isn’t easy. Compared to how I felt two and three years ago I feel great, but my body still aches and I am always tired.
Sleep, sweet sleep. Being tired is the base line of my existence, then there are the times when I am exhausted. And not just regular exhausted, painfully exhausted. My body aches with a buzzing pulsation, I can’t think, I feel like I am going to vomit. Living with Lyme is living with a limited daily supply of energy and there is no borrowing from tomorrow’s supply. When you are out of energy, you are out.
Being tired and in pain all the time makes it hard to go out and participate in life. I have really slowed my pace of life down, and I have to continue to work at keeping it that way. It is too easy to fill my week up with errands and socializing and then not have enough energy to paint. I also had to make changes to my studio practice and to the direction I want my art career to go to accommodate my health.
Having a couch in my studio is a must, having my studio in my house is preferable. It makes my life a lot easier when I can multi task throughout my day by getting household chores done or taking a quick nap while I wait for paint to dry. I find myself saying no more often now, not just passing up socializing but also turning down art opportunities. While I used to enjoy painting murals, I know I can’t work at the pace and scale needed to complete a mural. I paint at a much slower pace now, so I have less work available to show.
The benefit is that I have more time to contemplate my work. If I am too tired to paint, I can still sit in my studio space and look at the art, deciding what my next move will be. I find I am much happier with my finished work more often now. I also find that I am much happier with my life now. I don’t have the energy to sweat the small stuff and my life is filled with amazing people who support and love me.
March 25, 2014
Lately I’ve been a bit concerned with the effects of oil paint on my health. I’m not the most tidy of artists so by the end of a good painting session I usually have as much paint on me as I do the canvass. And since my studio is in my home, I am also concerned about the fumes. Even though I use odorless mineral spirits as my solvent, the only additive I use in my paint is cold wax, and I have an air purifier there is still an “oily” smell. I used to love that smell of fresh oil paint and the delicious buttery texture and vibrant colors. But now when I paint the smell is too strong and I get a little grossed out having oily paint all over my hands and sometimes my face… I often contemplate switching to acrylics but when I add cold wax to my paint is creates a velvety, powdery matt finish that I just cant reproduce with acrylics.
A few weeks ago I was looking at some art on line and one of the artists that caught my eye, Mary Weatherford, was using a paint called Flashe Paint. It is a water soluble vinyl paint that has been around since 1955. When dry it has a matte, velvety, and opaque finish. It sounded very interesting so I decided to give it a try. I had three larger canvases that I had started an acrylic under layer. I was able to paint over the acrylic with the Flashe paint with no problem. It dried fast and it dried matt. Now, the colors did darken a bit when the dried but that wasn’t a problem for me. Here are the finished pieces:
It was a little daunting at first to try something new when I have a system and style that really works for me. But I am able to layer the paint like I do my oils without waiting weeks in between layers for the paint to dry and the finish is close to the velvety matt that I get with the cold wax. I am excited to play around with the paint more, adding more watery washes and trying different blending techniques. I’ll keep posting my progress!
March 11, 2014
A few years ago I saw a screening of Manufactured Landscapes. In the film photographer Edward Burtynsky travels the world observing changes in landscapes due to industrial work and manufacturing. It was fascinating and scary, and I think it took me a few years to really digest all the information in the film. It starts in an electronics assembly factory in China, where rows upon rows of workers are creating goods that I assumed would be exported to places like the U.S. He also photographs villages where electronic waste gets dumped for recycling. The haunting images depict the extremes of massive waste heaps against the minute components the villagers are salvaging. My Final memory of this movie are the images of the Three Gorges Dam, where entire villages, looking like bomb sites, are dismantled since they will eventually be under water.
For Burtynsky, his work proposes that man made landscapes define who we are as people. He sees a certain physical beauty in the order and/or symmetry in some of these landscapes, despite the negative reasons for them or the subsequent degradation they pose to the environment and people around them.
I often felt the same way growing up outside of Pittsburgh. A city that was polluted by the steel industry then seemingly abandoned because of it’s collapse. My memories of driving in to the city with my dad are some of my favorite. We would drive south along the Ohio River, past factories and mills, through small towns with empty shops and dilapidated homes.
There was a beauty in all of this that I somehow knew, though I was to young perhaps to fully understand. The brick homes and big factories juxtaposed against a beautiful landscape. Green and vibrant in the summer and grey and dreary in the winter.
In his film, Burtynsky doesn’t say weather these landscapes are good or bad. He doesn’t’ want to influence the viewer either way, but let the decision up to them. He doesn’t have a solution, but he brings these topics to light. As an artist, I believe this is our job. To bring into focus what is happening in the world around us, hopefully to inspire positive change.
A few days ago I read an article in Popular Science, that immediately reminded me of Burtynsky’s film. ”The Garbage Man” starts with American environmental activist Jim Puckett who traveled to the town of Guiyu in southeast China to look for old computers. He’d learned that electronic waste from the West was finding its way to Guiyu. A town where, for centuries, residents had earned a living farming rice along the Lianjiang River. When Puckett arrived, one of the first things he saw was a man riding a bicycle stacked 15-feet high with computer keyboards. The descriptions of the crude recycling that happens here brought back the haunting images in Manufactured Landscapes. In this article, however, there is a light at the end of the tunnel. A man named Mike Biddle discovered how to separate certain mixed plastics completely. Biddle can take the plastic from laptop, reduce it to its purest form, and sell it back to a computer company to make another laptop. Biddle started out as an engineer making the very plastics he would soon figure out how to recycle.
The article goes on to talk about the lax recycling laws in the U.S., which is the reason Biddle’s first recycling plant opened in England. The good news is that in February 2013, China announced a new policy crackdown called Operation Green Fence. This means that shipments of recyclables into the country must truly be recyclables, not contaminants or waste. To read the full article, go here: http://www.popsci.com/article/science/garbage-man
January 15, 2014
A dear friend of mine, Bonnie Meltzer, has been working hard to protect Portland from coal trains. As part of her fight she is having a show at Portland University and has invite me and Thom Caccamo to show a few pieces with her.
January 13 – February 6, 2014
The threat of hazardous coal trains rumbling through Bonnie Meltzer’s North Portland neighborhood sparked her environmental activism and prodded her to produce a series of artworks about the proposed coal export terminals. Environmental issues have been a long-time theme running through Meltzer’s very mixed media sculptures. Her use of globes and other found objects give her a symbolic, visual and verbal vocabulary in which to frame an idea and interpret the news. In this exhibition Meltzer offers a compelling and even humorous look at the local and the global implications of destructive coal by turning crocheted wire, beads, found objects, and painted wood into sculptural commentary.
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November 20, 2013
It has been a busy summer, now fall is almost over. The days are getting shorter and the light here in Portland seems more yellow with the sun so low in the winter sky. The weather has been pretty mild. The clouds have rolled back in for the rainy season but we have had some beautiful sunny days and some amazing sunsets. Here is one of the most amazing sunsets I’ve seen in a while:
(the picture isn’t the greatest as I was driving when I took it….)
It has been nice to look up at the sky and gain inspiration for my new series of work “Clouds”. While my landscape paintings reflect the subtle changes that happen over a period of time my cloud paintings represent a brief moment in time. I have always been amazed with the world above me. How light can create a mood or a feeling of a place that helps to create a memory that seems timeless. Instead of creating an organic cloudscape, I incorporate a grid pattern. With that my clouds, like my landscape paintings, speak of the effect humans have on the environment.
Here are a few of my new pieces: