Mater/Materials

One of the things I’d like to comment on and share is the topic of materials. I feel this is a primary element in the varying modes of expression and creativity which affect an artist. Paper is quite distinct from Masonite, which also has distinction from Luan board. Canvas is altogether another beast and linen, the more refined of the two has a regal nature. I’ve also enjoyed cardboard, foam core and non organic materials to paint on.

CARDBOARD

When I think cardboard, I just

want to tear and fold, strip away layers and be at the ready with the hot glue gun to really get into it. The paint comes next, there’s resistance on the surface, sound scratching and sometimes runny paint gets out of control, the built up surfaces invite shadow where there is otherwise none to be found. Or the damed line skips over an edge and something new is birthed. Wonderful…

Paper

300 series Strathmore

in rolls is the workhorse of my studio. Variety in format being an advantage and also she holds various medias from paint to oil stick, pastels, graphic and spray cans… without getting those water swelling disruptions. Paper invites a different sort of energy from the artist I believe. It slows one down just a notch, and that’s an interesting phenomena in concert with creativity. There’s a lot of waiting looking waiting involved…

Masonite

Masonite, you can just beat away at and the more the better. Impact. It also is very generous with mistakes. Sister Luan board is more like bamboo is to oak. She’s more sensitive, receptive, yet has a definite voice when it comes to approach, medium and the amount of energy one can exert while painting. I like both for selfish reasons, there’s a time to be a brat in the studio and a time to take time and be decisive with the material guiding the process.

Canvas

Canvas is an aristocracy all to its self. The bounce of the brush a rthymn to a different drummer. Linen rules the feline aspects while cotton is for the king. Washes work well on canvas, dripping too, while all the other traditional methods of application were designed for specifically canvas, there’s plenty of room for experiment. The pallet knife has free reign on canvas, and there’s no shortage of surprise either. It’s truly a regal material.

FOUND OBJECTS

Found objects, I also have affinity with the found object/ non organic materials and anything that will take a punch; having had positive results with the assemblage which is perfectly fitted to such material use. In fact I’ve produced complete bodies of work and exhibited them, had action art happenings focused on spontaneous production with viable success.  This is another affinity that I’ve come to value.

This print is off a tile I found in the refuse heap at Urban Str. Krankenhaus I’m Berlin (W) c 1988.

This found object construct is from the Refuse~amblage exhibit, collaborative work with Daniel Stein from the November Gruppe (Berlin W.)

Good fortune has always been present in my evolution as an artist. Thru supportive colleagues I’ve been invited to residencies with involved using mediums outside of my usual, one of those being working with metal and welding. At a residency in Floyd Virginia I worked in a ‘Foundry” for 10 days on small maquette sized pieces of found object metals and foundry discards producing some 20 odd pieces. The compliment of using various materials to the artists vocabulary of expression is crucial to development and a sense of discovery. I’ve been most fortunate to have such opportunity.

Paint

Paint in any form is applicable. I’ve mixed colors from pigments in traditional oil resin turpentine recipes as well as egg tempera with poppy oils. Acrylic paint can also be made from pigments. There’s nothing like house paint latex or oils (before they found themselves EPA’s outlaws). Gouache is transcendent in the world of color luminosity. And even watercolor has a wispy voice in this mans choir (although I’d once said ‘straight out of the tube’ was my preference). Marine paints and sealers, printing press inks and varnishes all convey a message well beyond ‘wet paint’. Spray cans are the Shoenen Knife of the arsenal, explicit in their appearance. Oil crayons (pastels) are also to recon with, but, when it comes to stillness, there’s no competition. It’s the soft pastels which convey an outbreath, a relaxation, a beat of the heart which signs a unique pause, a receptivity to any subject matter. Even the act of pasteling is one of caution, patience and presence. Lastly there’s India ink, running away with the eye. He just doesn’t care to get along with anyone, it’s more a statement than an expression. What good company to have with such a gang of pals to get studio-ed in.  Ahoy!

Atelier / gp 2024