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Monthly Archives: January 2011

Broken back

I thought I would continue working on Stillborn, but was drawn to Breaking the Back. It is more abstract, and I was better able to bring it to a conclusion. The great part about working this way is that it allows me time to research anatomy. I love to read and look at images, so I can do that, then return to the painting when I have a better command of the subject matter.

Rough

Thanks, Lorene

I had a very nice time yesterday meeting my friend Lorene in New York. We ate lunch at Via Quadronno. I had the pureed vegetable soup served with strips of garlic and herb-seasoned bread. Delicious! Lorene had a sandwich of black olives and goat cheese that she enjoyed. Lorene is very interested in politics and had some insightful thoughts on the situation in Tunisia. After lunch we went to the Whitney. Charles LeDray creates sculptures consisting of miniature clothing, books, and pottery. Seemingly whimsical, on closer examination, the works are distressing: when one considers the ‘stuff’ of our lives becoming the junk found on sidewalks, as evidenced in the workworkworkworkwork sculptures. These are based on items sold by street vendors in the early 1990’s on Astor Place. His sculptures from human bones upset us. We wondered how the artist was able to find human bones. Next, we saw Modern Life: Edward Hopper and his Time. It was a cozy show, small in size and scope. I enjoyed Charles Burchfield’s mystery-tinged painting and Hopper’s less studied watercolors and etchings. Seeing a hawk in flight, a great blue heron fishing, and watching the sun go down from my train window were lovely. More information about the exhibitions at the Whitney: http://whitney.org/Exhibitions

Failing from the start

I am working on two paintings, tentatively entitled ‘Breaking the back’ and ‘Stillborn’. After working on the first, I became dissatisfied with the rudimentary depiction of anatomy. So, for the second, Stillborn, I first created a drawing of the skeleton. To that I added the muscles, nerves, and organs. I am happy with the process and the results thus far. I haven’t lost the expressiveness of the previous paintings. In fact, my reason for working this way is to increase the paintings’ expressive power by allowing the viewer to more easily recognize the subject.

A definition of 'stillborn' is the title for this post