Inspiration – Piranesi

Giovanni Battista Piranesi created an amazing series of prints called Le Carceri (the Prisons). I recently found out that the Saint Louis Public Library has an edition of the prints, so I’ll be over there to see them soon.

The Prisons, Plate VII: The Drawbridge.

In these works the master deftly shows the ability for etchings – and really all of printmaking – to transcend the sense of a single, locked image that is a stereotype of the discipline. Using an inventive, intuitive action, Piranesi works the various states of the prison plates in dramatic fashion, transforming their contents, scale, and mood. The Dover publication of the first and second states of the plates is well worth the price.

I picked that book up in 2004 and it has inspired a great deal of my perspective on line work and current interest in printmaking as a malleable medium – as seen in the image above, titled The Weight (etching and mezzotint, 2008). Click on the image for a larger view.


Inspiration: Ian Shelly

Ian Shelly was a graduate student at the University of Missouri in ceramics, working with the great Bede Clarke. He was among the first grads I taught and eventually developed good relationships with. His work, balanced in an evocative place between technical precision and playfulness, utilizes a modular methodology to arrive at installations that are unique and impressive. I sense dualities in his work: it’s emotional and flippant, gentle and muscled, intentional and intuitive. But it is in the continuum between those poles that deep meaning is conveyed. His project while at MU was impressive, and he’s continued that during his long-term residency at Hub-Bub in South Carolina. His work is now featured on the accessCeramics website.

Another Semester, Another Round of Glory

Yes, it’s Beginning Color Drawing time again… Once again it’s been a great start to the semester. I feel pretty astounded at the talent of my Beginning Color students; even though they’ve all taken Drawing 1, and some have had other studio courses as well, they’re all making big strides. It’s fantastic work. Take a look:

Andrew Vincent “Grid #1” Chalk Pastel, 24 by 18 inches, 2011.

Melissa Hoefer “Grid #2 Colored Pencil, 18 by 18 inches, 2011.

Emily Armstrong “Two Colored Pencil Object Group Studies” Colored Pencil, 24 by 18 inches, 2011.

Lauren Roberts “Grid #1” Chalk Pastel, 18 by 24 inches, 2011.

Mitchell Baggett “Colored Pencil Object Group Study” Colored Pencil, 12 by 18 inches, 2011.

I know I’ll be posting more work from this group…

Experiences, Not Products

There’s a great piece up on the Guardian UK website showing a film of famed painter Sean Scully talking about working, being a father, and other topics. Though I’m not a huge fan of his work, I love what he says here:

“You’re trying to, in a sense, imitate God because you’re trying to be creative. And I can never make anything better than Oisin (his son). That’s my greatest creation.”

and here:

“I’m not sure that I have a destination in mind. I’m on a journey. I don’t expect to arrive.”

and here:

“If you’re plotting art, and trying to make something to get something, you’re not in a state of creative innocence. You’re not making art. You’re doing something else.”

This last bit is fantastic. I find it quirky for an artist like Scully – who has exhibited such consistency and clearly defined formatting for decades – to make that statement. But it is really something I believe in. I tell my students constantly: I couldn’t care less about products – I want experiences. I think that’s part of what Scully is saying there.

I don’t want my students to merely execute skills or master techniques; I want them to live out the sense of being that’s wrapped up in obtaining those skills or using those techniques. Making artwork is physical philosophy… it’s a musing on what it means to be miraculously conscious, purposefully aware, intuitively engaged and intellectually stimulated by a range of actions and tremendously important conditions of the human body/mind.

Above: Sketchbook drawing from 2006… it keeps coming back to me. Some day it’ll resolve into an image.

I saw the Scully story via Two Coats of Paint. Check out that blog.

Installing at Gordon

Today I arrived at Gordon College to install my exhibition of paintings, drawings, and prints, titled Redeeming Tensions. Bruce Herman, a Professor at Gordon and director of the gallery, worked with Leo (installer extraordinaire!) and me to hang the show. Here are a few shots of it all going up.

I also spoke for Associate Professor Michael Monroe’s class of 75 or so – fielding all of the students’ questions made for a good time.

More tomorrow after the opening reception talk. If you’re in the area (eastern Massachusetts), stop by! It’ll be at the Barrington Art Center on the Gordon Campus.

So far I’ve felt such a kinship with everyone here. It’s a great place; the beautiful campus has a massive blanket of snow but everyone is pleasant and uplifting to talk to. I’m really looking forward to the reception…

Lamentations 3 Series Complete

This weekend I printed and framed the last of the Lamentations 3 Series. I’ve talked about it before here, here, and here. It’s been a long journey: 20 months, lots of rocking on the mezzotint deck, the production of beautiful coppery glory, and a ton of revision. Tonight I pack them up for the trip to the Gordon College show. Here’s a preview of the last two, freshly finished (click for larger view… sorry, close up viewing is a little blurry; look for a super clear set of the whole 16 mezzotint series in a few months):

Lamentations 3, Verse 16

Lamentations 3, Verses 19-20