Cleaning up the studio, a painting in progress, and some art books in the works

The year 2011 arrived with blinding speed. In fact, I have a little trouble wrapping my head around the idea of 2011. It is a year past epic milestones of science fiction. No flying cars, no glittering Nehru jackets to wear. For that I am grateful. I am one of those people fascinated by artist's studios so I am sharing some recent pictures of the studio Valerie and I share together. As always, click on the image to enlarge.

The above view is looking towards both my easel and Valerie's writing desk. Thanks to Fairbanks Antiques I was lucky enough to get a decent music stand to put my gramophone on and stash some of my 78's inside. Makes the studio feel larger. In the corner are paintings of Charlotte including my latest one from last October. Below that are some of Valerie's Victorian fashion illustrations. I can't remember if they're from Godey's or Harper's.

 This is a view from my easel looking over towards my drafting table where I work on the collages. The painting on the easel I had started at least a couple of months ago and was going fairly well. It's based on a photograph I took of Valerie.  The painting is on cold press watercolour paper and like much of my other work is a combination of coloured pencil and acrylic. The mood of the painting was originally more wistful, but took on the more melancholy aspect after the death of my cousin Amanda whose future career in the arts ended before it even truly began due to a automobile accident. I have been thinking of doing a commemorative painting of Amanda but right now it is too painful to contemplate. In the corner over the drafting table are more paintings of Charlotte and some images that I find inspiring including my little reproduction of the Gainsborough painting I wrote about previously.

This is the studio looking towards the fireplace from the edge of the drafting table over to the French doors. My favourite painting of Valerie hangs over the mantel along with some of my early photographs of her. Piled on the mantle are my James Lane Allen books and along with some of my other treasured Victorian era books. The lovely Christmas tree is Valerie's handiwork. In the corner, Barnabas Collins maintains a melancholy watch over a renaissance lady on top of the bookcase.

As we come around full circle, more books, a music corner with my Edison Amberola 30 cylinder player, a steampunk AM/FM cassette deck in the form of a Edison Home Phonograph courtesy of the Thomas Radio Corporation. The closet stores paintings, art supplies belonging to both Valerie and myself. My favourite painting of Charlotte hangs on the door.

Upcoming paintings:


At the moment, there are two paintings in the pipeline. The lady listening to the gramophone and a small painting of an embracing couple. The latter painting is feeling a bit stuck but other painting is going well. I'm reviewing recent sketches with a view towards picking out my next several paintings. I've also been giving thoughts to my next set of collages but want to get at least two or three paintings finished before I shift the focus back to collage.


Art books I am working on:

It's been in the thought process for a long time, but I'm finally making some progress towards doing a couple of books featuring my paintings and collages. The first book will be an overview of what I hope are the best of my paintings and collages as well as including some of the sketches. I'm contemplating perhaps having a section on how I, as a colour blind artist work in colour. A lot of the photographs I've taken of my paintings over the years will have to be rescanned to improve the quality for print. Many of the web images do not enlarge well.

The second book will feature only my paintings of Charlotte over the last thirty years.  Unhappily, this project will require my rephotographing much of that work. About four years ago, I had photographed nearly everything to use in a future project. I had made a slideshow movie with the images and had hoped to use them in a book later only to lose them when my computer died. The back up CD I made has yet to be found.

The first phase of this project will be to purchase and install the software I've identified as an affordable page maker.  I intend to publish the books through Lulu.com when they're ready. I tried using their "portfolio" maker but found it too limiting. Bear with me as I have multiple irons in the fire.

Here's hoping that 2011 will be a very productive year!

And now for something a bit different

To Recall the Life That Arose Before My Eyes, 2009, collage, 18x24 inches.
Click on image to enlarge

I Now Know What I Must Do, 2009, collage, 16x20 inches
Click on image to enlarge.

In late 1997, during a terrible painting block, I took up making collages as a way of looking at what I was doing through a somewhat different filter. I'm not in a painting block now because Amor Aeterna is very close to completion but I thought I would revisit the collage. There are a couple of different schools of collage that are incorporating Victorian imagery into their work. The current school is what I think of as the Somerset Studio school of collage which uses not only images but also text, small objects and may also extended to multiple movable panels etc.

An older school of collage is the kind where the image maker has a stack of Dover clip art books filled with wonderful Victorian images and from other sources they've saved of a similar type. Later practitioners of this school make use of computer scans to arrange their compositions etc while others still use photocopiers, scissors and Mod Podge (tm) to create their collages. I decided to be of the old Mod Podge school.

The first two of my collages are posted here. I've saved a lot of material over the years and started looking at it again recently. Instead of mounting my collages to a sheet of cold press watercolour paper as I did in 1997, I decided to mount them to canvas panels using the different sized panels allowed greater freedom of composition. This necessitated making enlargements of my backgrounds and then piecing them together onto the canvas panel. I cut out all of the elements I wish to place on the background and rather than just rough cut and slap them down, I cut out everything very carefully including negative spaces in say the crook of a figure's arm or some part where when cut out would reveal the background.

I also looked at the particular line quality of each element with a view towards matching it. I wanted the collage to have a visual logic to it so that each part would be believable as a whole. One of the developments of the modern photocopier is that you can print images in reverse if desired. In the closeup of the collage below, the lady in the middle ground has been reversed so that her shadowing matches the troubled gentleman in the foreground as well as the lighting of the ruins behind them. The composition is being treated exactly the same as though I were doing a paintings.

I Now Know What I Must Do, detail
Click on image to enlarge

The use of colour is designed to stand out from the sepia toned collages I see so much of which is to say the collage is meant to be brand new rather than a weathered and aged object found in an attic somewhere. The colours also are tied to my normal painting palette but in the case of collage I use transparent glazes so as not to obscure the underlying original detail. My colours are described as jewel toned in my paintings, I wanted to maintain this quality in the collages.

I also want the collages to suggest their own stories in the viewer's mind. Fans of the writing of Wilkie Collins and J. Sheridan LeFanu and other Victorian writers of the mysterious and the fantastic will have no trouble conjuring up narratives in their minds. However, I found that viewers completely unfamiliar with the conventions of the Victorian novel easily came up with universal narrative to describe what they thought the collages were about. Steampunk is a fascination of mine and some of my 1997 era collages were definitely steampunk and some of the 2009 images will revisit some of that territory with a new eye. In the end, the themes of my paintings and my collages are not all that far apart if at all.

Your experience may vary.