Swan Lake

Walking the Swans, acrylic on linen, 50 x 40 inches

NOW THAT SPRING has sprung, we all start acting a little kittenish. That is all very well and good for kittens and maybe even people, but when swans act kittenish, it is a remarkable theatrical event. I will block it out for you.

Playbill: Mr. and Mrs. Swan rule the lake  at Foxglove and I am merely one of their subjects. I am blessed to have the best seat on the lake, Foxglove Cottage, front row center, from which to observe the spring drama.

Orchestra: A startlingly loud cacophony of thunderous crashes and cracks. The orchestration ascends into a clashing, frenzied crescendo. That is the ice on the lake breaking up, pulling away from the shore and crashing into big ice chunks. It eventually melts and drifts.

Cue Swans: Swans can be seen in the distance swimming in the small channels of water between ice chunks.

Orchestra: Suddenly all is quiet but for a gentle, soothing, lapping sound. The ice has vanished. There are whitecaps on the lake and a slow, swelling underscore of birdsong.

Enter Swans Left Front Stage from the air: Swans are chasing each other, flying low, at eye level, in tandem, just short of ramming into each other.

Enter Swans Right Front Stage from the air: Swans are still chasing after one another, flying low, at eye level, in tandem just short of ramming into other. (Repeat the above two stage directions every day for two weeks, three times a day)

Swans Center Stage: Scenery: Deserted, wild peninsula. The swans are very tired after all that flying and "catting" around. They lounge on the peninsula for hours a day, grooming themselves meticulously and hissing at each other. They are not angry; they are mute and hissing is the only sound they can make. They think it is okay though, because "hiss" sounds like "kiss." Mrs. Swan has gotten herself so white and fluffy that when she sits, her feathers plume out and flutter as if she were wearing a ballerina's tutu. For now, she feels she is "in" Swan Lake, not "on" Swan Lake. She is beautiful and is getting ready for her big date. The one where she and Mr. Swan mate.

She has already constructed her throne-like nest where she will sit atop her future cygnets for 35 days, keeping them warm while they are encased in eggs. The nest is very large, gold in color and made up of twigs and other salvaged natural materials. Mrs. Swan is a very good architect and builder. Her nest looks like a wicker chair without the back and is just as strong.

Choreography: Mr. Swan provocatively struts around the peninsula while Mrs. Swan and I watch transfixed, becoming more enchanted every minute. Suddenly his movement becomes jerky and more frantic and he breaks into what looks to me like James Brown doing the funky chicken. Perhaps, Mr. Swan does the funky swan. Whatever the dance, it is irresistible and Mrs. Swan joins in. Finally she backs into him and they peacefully stay in that position for some hours.

After the date, Ms. Swan retires to her nest thinking, "He is the only swan for me. I'm glad we mated for life" and Mr. Swan has a cigarette. No, only kidding, he goes for a swim.

Second Act, 35 days later:

Orchestra: A barely audible cracking and shuffling noise. The cygnets are hatched. Mrs. Swan, carrying five of them on her back, immediately waddles into the lake, slides them off her back and they all swim away in a line. They call on us here at Foxglove for daily visits, but never again return to their birthing nest. In fact, they never return to the peninsula at all except for one or two fall "swan song" picnics for the sygnets, who must now leave Swan Lake and find mates and lakes of their own.

Final Stage Direction: Now, only the hushed sound of flapping wings can be heard as the sygnets disappear into the sunset...forever.

***************************Applause!***************************

Riptide

 

xxxxxxxxxxxxRiptide, mixed media on linen, 50 x 40 inchesxxxxxxxxxxxxxxxxxxxxxxxxx

A RIPTIDE AND I have a great deal in common. Strange as that may seem, I can explain the   similarity:

A riptide  is a strong current of water that flows away from the shore. As a painter, I, like the riptide, produce a strong current of energy that flows away from  the shore–the shore of “everyday.”

If you are a swimmer, the riptide will pull you away from the safety of the shore. If you are a viewer, my paintings will pull you away from the safety of "everyday" and into the unknown.

I serendipitously happened upon the above image for Riptide while standing on the balcony of my  Fort Lauderdale studio. The balcony is poised over the Atlantic Ocean and is closed off from the studio by glass doors. While looking through the doors I realized I was in a strange new place.  I could clearly see the ocean and sky (reflected on the glass) along with the studio and bedroom spaces beyond the doors, including more double doors, and the furniture beyond that. This confusing yet beautiful image of land, sea and air superimposed on one another enchanted me. I was caught in the current, a riptide if you will, and pulled away from the safety of "everyday."

I hope you will all join me  at my solo exhibition, "Out of Thin Air," on Saturday night, March, 26, at The Guild 5 Forty Five  in Fort Lauderdale.

Bucolia

Enter, wood, metal, hardware, paint 8 x 8 inches

SOME PHOTOS from my  solo exhibition, Bucolia,  in Miami at Meeting House where the gallery is as beautiful as the art.  The show was curated by Moira Holohan, who in addition to being  a talented curator is a talented artist in her own right.  Since we couldn't find the right word to describe my paintings for the show, we coined the word Bucolia from  the words "bucolic" and "melancholia."

In addition to medium and large scale paintings, my sculpture, Enter, was displayed as well as a series of digital paintings entitled Going to Pieces. 

Going, digital  painting , 24 x 30 inches

The artist and studio assistant

Golden Lady  (left) and Out of the Woods

Fairfield Porter Gone Bad (right)

Alice's Aura (left) and Entropy

Exit , pen and ink, 8 x 11 inches 

Enter sculpture (center) and   Bi-Directional (far right)

Stranger in a Strange Land

Dead birds in crocheted dresses.
Sacrificed butterflies entombed forever.
Maggot-infested severed cow heads.
Sharks suspended in formaldehyde.
Soiled dainties in glassine bags.
Nothing.
Nothing at all?

Where am I?
A torture chamber?
Barnum & Bailey's Three Ring Circus?
A House of Horrors?
A nightmare?
Bellevue?
A horror film?
No.
I am on the cutting edge...........

at New York University in a mid-ninety's art program in a graduate school not for the faint of heart. That's what passed for art in those pluralistic times. Only the most resilient of figurative painters got out alive. I did and I hope the other two did also.

Footnotes

Footnotes, gouache on paper, 8 x 11," New Yorker cover proposalxxxxxxxx

THE LATE GREAT Jack Potter told me, if you do the illustration right, there's no need for words!

I think I nailed this, Mr. Potter.!

Body and Soul

Full House, acrylic on linen, 40 x 30 inches

 
I RECENTLY PAINTED my best friend, Kenneth Feldman, who I call Feldy. At the first session: I sit him down in a possible pose, studying intently every feature of his face, body and posture. I take into account all of this physiognomy and store the information in my brain. But now I must mix it with the intangible "patina" of Feldy, such as his personality, wit, intelligence, background–indeed, his soul. If a painter attempts to portray a person by considering only the body without taking into account the soul, she is no different than a house painter.

While we are deciding on the right pose, Feldy mugs. He pulls his lapel, which sports a boutonniere, up to his nose and smells the flower. I love this pose and and tell him that this is the way I want to paint him. Curiously, Feldy says "Please don't paint me that way. I'll look too fey." I am not sure what he means, but choose another pose. Even though he is a delightfully lighthearted and amusing model, I choose to show his more serious side.

In my mind I have blended his "patina" with his physiognomy, so I feel I am ready to block in the paint on my canvas. This involves exploring the shapes of his face and body and constructing them with paint, running my brushes up, around and over the various facial forms to "flesh out" the paint rough. I round out the cheekbones and forehead, I build up the volume for his nose and lips, and I darken around his eye sockets so they will appear sunken–on a lower plane than the rest of his face.

I continue the block-out of all of Feldy - his neck, shoulders, torso, pelvis, legs, right down to his feet. All these anatomical parts are merely shapes. But through my exploration and manipulation of them I know that I will reveal Feldy's soul. His essence, not just his form, will be reflected in his portrait.

Feldy patiently subjects his body and being to my artist's gaze. The work on the paint rough progresses smoothly and quickly. For me, the purpose of a rough is simply to get the paint onto the canvas. At this point I do not concern myself with any likeness these embryonic paint splashes might have to my model. However, in this instance I am struck by the remarkable resemblance between the painting and Feldy.

After that first day, I could not work on the painting for ten months. Sadly, almost immediately after, Feldy was diagnosed with late-stage melanoma. I did try to help his body though, trying to restore or at least maintain what was left of his health, by escorting him to and from doctors, keeping him company while he was being treated, transporting him to and visiting with him in hospitals, bringing him meals, newspapers and clothing.

On one occasion, I even bathed him when a nurse was not available. I was struck by the similarity between running a warm washcloth over his physical face and running a brush over his painted face. Toward the end, Feldy had to be moved to a hospice. While he was there, I realized that I had been so concerned with his body that I had forgotten the importance of his soul. Sadly, I then had to watch his soul drain out of his body bit by bit until it was gone.

His rabbi told me that I shouldn't feel so sad about death. It is not the end. Our bodies are just temporary homes for our souls. Therefore, we should view our bodies as just short-term rentals. He assured me that the spirit of Feldy lived on.

Soon after the funeral I got back to finishing the painting. Although I usually use multiple layers of paint when finishing a painting, Feldy's required very little finish because the rough was so "right." While working on it, I remembered that Feldy didn't want me to use the pose with him smelling his boutonniere because it made him look too "fey." I finally looked the word up in a dictionary and learned that the first definition given is: "chiefly Scottish: fated to die, doomed; marked by a foreboding of death or calamity."

Still, the spirit of Feldy lives on.

The Anti-Bridezilla

The Anti-Bridezilla, acrylic on linen, 36 x 36 inches

MY COUNTLESS PEN AND INK children have one flesh and blood sister–Nicole. She respects her brothers and sisters, finds them pleasant enough as siblings go, but nevertheless is rather standoffish and aloof. She would never think of reading about them, let alone telephoning them. You can't get around it, there is always rivalry among siblings. Because I frequently post about my pen and ink children, I had better write about the flesh and blood one as well.

Coli is a beautiful, smart, accomplished and successful young lady. She has always been industrious and enthusiastic about everything with one exception -- her own wedding plans.

After she became engaged, I could see that she was disinclined to do anything about actually planning a wedding. She was not looking into a reception hall, invitations, a photographer, a band, flowers, food--none of that. (In her defense, she was living in Chicago but wanted to get married in New York.) Seeing no alternative, her father and I took it upon ourselves to get her started. He looked at photographers' portfolios, I visited potential venues and together we started prowling around at night listening to bands. When we showed her the work of photographers we liked or brochures from reception halls that we thought perfect, or sent her CD's featuring fabulous bands, she would say, "Sure, they look OK, why don't you just go ahead and pick one of them."

I figured that with this casual attitude, she had probably not given any thought to a wedding dress. But I was wrong. She told me that she was definitely not going to wear one of those veil "thingees" on her head. Also, she would get a bridal gown, but she was planning on wearing boots with it. Upon hearing this, and worried about a potential fashion disaster, I made appointments for her at three bridal boutiques in Chicago and flew there to "advise" her (really to make sure she kept the appointments). At boutique number one, Nicole thought the first dress she tried on was fine and said that was the dress for her. I explained that it was unusual for a bride to buy the first wedding dress she saw–and besides we had two more boutiques to go to before she made any decisions. After reluctantly trying on a few more dresses, Coli told me she still wanted to buy the first one. She said, "Let's cancel the other appointments and go to lunch." Coli is a very persuasive person. Just say, "yes" to her, and nobody gets hurt. So we went to lunch.

While we were eating, I asked her what she thought about our exciting dress–buying experience. She replied, "The saleswoman could have had more teeth." At that point, I knew I was dealing with the anti-bridezilla. When we shopped for attendant's dresses, I found that Coli had chosen all anti-bridesmaidzillas as well. They had agreed among themselves to wear black dresses, but when we got to the boutique, they were shown petal pink dresses first. They thought the dresses were beautiful and selected them instantly, without looking at any others. As for the flowergirlzilla's dress? We bought that there as well. Guess how long that took and how many dresses we looked at–30 seconds and one! Then we went to lunch.

For the wedding and reception, her father and I selected the Snuff Mill at the Bronx Botanical Garden. We went there many times to fine-tune all the ceremonial, food, music and floral arrangements. Once, when Nicole was in town, she actually came along with us. The manager declared her the most relaxed bride he had encountered in his 30-year career. At one point while we were discussing the menu, he asked Nicole for her input. Yawning, she said it didn't really matter to her–anything would be fine. The manager had to ask her if he was boring her. "No," she replied. "I'm just tired."

My husband told Nicole and her fiance they should select a song that was meaningful to them for their first dance as Dr. and Mrs. Brandell. After some weeks passed, he said that if they didn't make a selection soon, he would pick one for them. They never got around to it, so my husband chose their wedding song for them. The experience was unforgettable and their song, as meaningfully picked out by my husband, was indeed Unforgettable.

For their first dance as a married couple, Nicole and Brian came onto the dance floor and started dancing in a graceful and dignified manner to "their" song, as my husband proudly told everyone that he had picked it. But then just a few bars into the song, something strange happened. Jayon, the lead singer, yelled, "Cut!" and the music stopped. The singer said "You know what? Brian and Nicole just do not look like an Unforgettable type of couple to me." And then the band started playing That's What I Like About You by the Romantics. Nicole and Brian, neither of whom was really a dancer, started to perform an ambitious, perfectly-choreographed, raucously funky dance. They had been secretly in touch with the band to arrange it and had a co-worker of Nicole's who had been a professional dancer work out the choreography in order to be able to do their Dancing with the Stars-quality routine. They and the band had conspired to keep it a secret from my husband, the grand inquisitor.

Other than showing up, the big dance fake-out was Nicole's sole contribution to the wedding. And it wasa great one. Everyone thought it was hysterical. It totally set the tone for the rest of the evening. Everyone, regardless of age or infirmity, was on the dance floor all evening, gyrating to a band that was in a delightfully deep funk groove. No tummlers needed that night.

About a week before the wedding, Nicole rang me up and said that she had just tried on her wedding dress for the first time. She said she looked OK in it but thought no one would even know that she was the bride because she wouldn't be wearing a veil. Upon hearing that, I sprang into action. I immediately went to Suzanne on Madison Avenue and had a veil designed and made up virtually overnight so that people would know that Coli was the bride. I did not concern myself in the least with such petty details as the exhorbatnt cost of the rush order because–

I am Bridezilla!

Kaleidomind

Inside My Mind,  gouache on paper, 8 x 10"

Contents of my Mind Arranged,  gouache on paper , 8 x 10 "

JUST CALL ME KALEIDOMIND. I have chosen this name for myself because of my creative process, which is analogous to that of a kaleidoscope.

You've probably never looked inside a person's head unless you are a neurosurgeon or maybe a radiologist. But in this post you will be able to see inside one for the first time–my kaleidomind. When you view the top image  you are seeing a painting of the inside of my brain. All of the images, colors and starry shapes I have stuffed and sucked into it, store there, and carry around with me constantly are on display. They are not heavy, they're my images.

Notice you don't see any words in there. That's because I am an artist; I breathe, eat, sleep, walk and think images. I don't need words. I don't even assign names or meanings to my collected images. They are just shapes, colors and textures to me, with no more significance than anything else that comprises my palette. These images shift around in my mind, for years sometimes, depending on when I first acquired them. As they assume this or that juxtaposition, I imagine they are rehearsing for their debut in a painting. For the moment, though, they are merely biding their time in my mind–waiting until I let them out.

Although these nameless objets d'art residing in my head are highly conducive to painting, they wreak havoc with my civilian life. The unnamed objects are not so good for conversational purposes. I have on more occasions than I would like to recall had to use one of the few words that I can consistently remember–"thingee." I use it in much the same way as a universal solvent is used. I am reduced to describing anything and everything with my universal solvent. I will mention this "thingee" or that "thingee" when I am talking about an object which I could draw accurately and precisely in a heartbeat but the name of which I cannot recall for all the paint brushes in China. Strangers I regale with such fascinating repartee sometimes take my friends aside and ask in hushed tones if I am the village idiot. "No," my friends will reply, "she's the village artist." It's worth the humiliation, though, not to have words and meanings get in the way of my production of art.

In the second painting on you are viewing the very same contents of my mind that you have already seen in the first painting, only after said contents have been filtered through my creative process and disgorged onto a canvas. If you examine the two closely, you will see that the individual images are the same except for placement and size. Well, maybe they are slightly distorted. It's more crowded than a New York City rush hour subway in there and just as bumpy. You will also see that my visual language is not at all exotic. It is comprised of everyday objects, including lobsters, women, umbrellas, bottles, bikinis– words to you, but "thingees" to me.

I was born painting and since then I have created paintings in the same way. After capturing and storing numerous images in my mind, I use my mindoscope (located next to the medulla oblongata) to rotate and record, shuffle and re-record them many times over to create my work. Although I have repeated some of the same images throughout my painting life, they are never combined in exactly the same way, just as a kaleidoscope's pattern, even though using the same pieces of colored glass, is never repeated.

My kaleidomind differs from a kaleidoscope in one important way. The kaleidoscope's content of shards of glass is fixed, while my kaleidomind's shards of images are constantly increasing in number as I add new ones every day. (I have to paint; otherwise my overcrowded mind would explode!) It is virtually impossible for either me or my precursor, the kaleidoscope, to form the same pattern or composition twice, even were we to attempt to do so. And why would we want to? There is so much new ground–background and foreground–we have to cover. Through this process, images of ordinary, everyday objects (or bits of colored glass in the kaleidoscope) end up confronting each other in unexpected, sometimes jarring and always extraordinary juxtaposition.

At this very writing, there are two extremely pushy shapes bouncing around inside my cranium and giving me a headache. Ouch! That hurts! They are trying to split my head open and escape. One of the shapes thinks that it is a bird and is trying to peck its way out. The other believes itself to be a bottle, or perhaps, in its more Freudian analysis, a womb, leading it to so believe that it has an inherent right to be born. Excuse me momentarily while I disabuse those "thingees" of their escapist notions–the one in which they think they can exit my mind prematurely and the other in which they assume that they are something other than shapes. Until I am ready to crank up my kaleidomind and shake, rattle, and roll that "bird" and "bottle/womb" out of their compartment in my mindoscope, that is exactly where they'll stay. While they remain captive, I, a seasoned artist, will explain to them that they must stay put until they have acquired depth and perfection. Then and only then can they emerge as part of my personal vision, set free and spilled out onto a canvas as part of an enriched, painterly whole.

That "thingee" depicted in the second painting--the girl? She matured, developing a lovely patina, until it was her time to become part of the painting. She could just as well have been a spider on its web. (I especially like webs because what looks more like a kaleidoscopic image than the beautiful refracted shapes and lines of a spider's web?) The girl simply did her time in my mind and then suddenly emerged from an abyss in my memory. Then I twirled her around in my mindoscope until she landed in her place on my canvas. She fell into place without any psychological hoopla. After all, she's just a shape.

Fittingly, the analogy I draw between my creative process and a kaleidoscope is itself based on one of my earliest visual memories: looking at the living room of my childhood home through the multi-faceted cut-glass, decorative sphere atop the "thingee" (which I only much later learned was called a newel post). This vision, one of the most splendid refractions I have ever seen, was perhaps first in my visual vocabulary. I will carry it with me always, use it in my art, and pass it on to my viewers–whose visages I will simultaneously be storing in my kaleidomind.

And so it goes, on and on, around and around, back and forth, up and down, and finally . . .out!

Out of Thin Air

Out of Thin Air, mixed media, 24 x 36 inches xxxxxxxxxx

 

2016 seems like it came out of thin air and, coincidentally, so does my first painting of the new year and first exhibition at The Guild 5 Forty five in Ft. Lauderdale, Fl., both named, Out of Thin Air.

Of course, the new years don’t really come out of thin air; they come out of the passage of time. But these mysterious things called my paintings, where do they come from? Out of thin air?  It seems like they do, because first there is nothing and then something starts to appear. My paintings come from the strata of my mind where I have stored all the images that I have encountered in life. These images are then transferred from mind to hand, erupting onto a canvas with the help of pigments, liquids, brushes, fingers and an occasional tantrum.

Not only did my new painting arise out of thin air, but within the painting itself a bear has appeared in the clouds out of thin air. I’ll bet all of you have seen things in clouds that resonate with you. The particular thin-air moment captured in this painting–the boy viewing the bear in the sky–is poignant and to me marks his transition from boyhood  to manhood.

I personally can remember my transition into the adult world.  It occurred when I didn’t play with my beloved, favorite doll, Lucy, any more. It wasn’t because I didn’t want to, but because I was embarrassed to do so at my advanced age of 12.  I even asked my father to bring Lucy up to our summer house when he came for the weekend. Though conflicted, I was sort of happy when he forgot.  Similarly, the boy playing “Indians” with his teddy bear is now at the point in his life where he will soon have to leave his faithful and comforting teddy bear behind and face all the real life “bears” that adult life has to offer.

Fortunately, my model and favorite 12-year-old will have this painting as an aid to remember this exact moment in his life, along with other fragments from his surroundings. Maybe some day he’ll be able to utilize them in a painting or in some other creative way of his own.

And so the years, and life and painting, go round-and-round and up-and-down and finally emerge as paintings from out of thin air.

Accidental Art

Printer ink, and water on paper

Printer ink and water on paper

Printer ink and water on paper

 I LOVE ALL ART––high art, low art, and even accidental art such as my car's GPS screen when I'm driving along hill, dale and curvy river; decaying, termite-ridden wood; rust (my favorite); a NYC manhole cover of a certain vintage, a splattered spill of tomato soup; or shadows cast through a wrought iron railing.

While studying such accidental art as an undergraduate at Parsons, much to the dismay of passersby, I used to photograph the contents of garbage cans (giving the Ashcan School a whole new meaning). Mercifully, I obtained artistic results with no rearranging at all. Upon viewing my "ashcan art," Professor Kiokawa used to ask in sheer and utter bewilderment, "Ms. McLaughlin, your concept is garbage?" "No," I would reply, "My concept is accidental art." This brings me to the point of my query today: Can a Poland Spring water bottle make art?

Last night I was looking at some inkjet prints of my photographic images in bed before falling asleep. (I know ... exciting life, right?) When I finished with them, I placed them in a stack on my bedside table. Then I had a sip of water from my ubiquitous pacifier, a Poland Spring water bottle. Sans coaster and so as not to leave a ring on the marble-topped table, I placed the bottle on top of the stack of prints.

Overnight, while I was merely dreaming of art, that plastic bottle sweated out six colorful, well-composed abstract "works on paper." Its medium was condensation mixed with printer ink. I think the art it produced is exciting–for a neophyte bottle. The condensation bled out through the entire stack and left its artistic mark on the back of every one of the prints. It also improved the image of the top print, rendering it more dynamic.

The point, of course, is that art is all around us. Some of it needs to have the content/meaning removed, but much of the most excruciatingly exquisite art, such as rust or fungi, is naturally-occurring and untouched by human hands.

Because of the watery mishap with my computer prints, I no longer think of my pacifier as a mere water bottle. It is now my protege. So in answer to today's query: Yes, my protege, a Poland Spring water bottle can make art. See for yourself.

Come to think of it, an etched ring on marble might not have looked so bad either–kind of hard to hang, though.

Winged Hunters

Cormorant, Colored pencil and watercolor on paper xxxxxxx

Crow, colored pencils and watercolor on paper

Egret, colored pencils and watercolor on paper xxxx

 Some birds are classified as vultures;

Reliquiae enhances their culture.

Others dive in search of fish.

I too eat sushi--it's delish.

Though I fret, egret,

when you fly through the sky

with your prey, which will die,

I'll not have an impassioned snit.

At least you're dainty about it.

While the cormorant picks his bone,

I've certainly got my own

to pick---with his wings,

the silly inefficient things.

With wings, he swims and soars quite high

When wet, he holds them out to dry

And, yet, it's odd; you might ask, why?

Water-laden, he cannot fly.

Stealthily, the graceful heron fishes off my dock

Long pointed beak pinning bass to rock

A toss of his head sends his catch up high

but before you know it ... down the gullet!

Then off he flies to hunt for pullet.

But so do you and I.

I Wish You a French Chateau

Chateau, acrylic on linen, 36 x 24 inches

 A French chateau
in which to enjoy your escargot,
a gala with a festive floor show.

Or at least a Chateauneuf du Pape!

So off with your chapeau
2016 is pretty much a go
with art and life a striking tableau.

The ball in the Square's about to drop!

An Appointment with my Life

Sketchbook drawing, pencil and crayons

I RECENTLY DISCOVERED THE CHARMING FRENCH BLOG J'ai Rendezvous Avec Ma Vie, written by Murielle. I was so enchanted by its name, which, means "I have an appointment with my life," that I decided to do just that. I called my life to make a date.

That is not an easy thing to do because my life is very busy and thinks she is more important than I am. I thought I might get turned down–by my own life!–and I hate rejection. However, when I asked, my life said she thought she could fit me in! My life seemed at first relaxed, funny, smart, pleasant, good-looking and fun. My life looked like someone with whom I was going to have a blast. H-O-W-E-V-E-R ...

All my life wants to talk about is painting. Sure, that's fun for my life but what fun is it for me? I thought we'd go out ... have a couple of glasses of Sauvingon Blanc ... dinner, and then dance 'til dawn. That way, I thought we would get to really know each other. Well, I had a Sauvingnon Blanc. But my life ordered Pellegrino with a lime because in the morning she had to varnish some paintings, meet with her curator, design a colophon for her book and then write a post for her blog, all of which are about guess what? painting! I'm sorry to say, it was an awkward date, and we didn't bond. B-O-R-I-N-G.

OK . I can understand that my life has to take care of business, so I magnanimously said, "Mid, (That's her name. It's short for middle-life) after your varnishing and curatorial meeting, lets go shopping and buy some gorgeous spring clothes at BG." Middy replied that she'd love to, but she had to save her money for framing her artwork and paying a photographer to shoot it for her book, Depingo Ergo Sum. I had to go shopping alone. I guess my life is just not that into me.

I decided not to hang out with her again, but I still wanted another shot at my life. So I made another appointment-just not with Mid. This time I was smart about it. Instead of calling my present life, I called my pre-school life–Early. She is so precocious and cute. Early life said "Yes," and inquired if candy and a toy would be involved. Well that appointment didn't work out either. It is exhausting being around such a young life, not to mention that Early had tantrums if she didn't get her way, frequent crying jags for no reason at all and she even bit me. B-O-R-I-N-G and it hurt!

There's more than one way to date one's life, so as a last resort I called my future life. Her name is Late. I had never seen her before, but Late seemed quite elegant, erudite and even amusing over the phone. On our date though, it was a different story. It took her half an hour to walk a block. She limped and had a dowager's hump. All Late talked about was whether she would be getting a cost of living adjustment to her Social Security benefits and how much better everything had been when she was young. B-O-R--I-N-G and she was a little hard on the eyes because of all those wrinkles.

After that, I forgot all about meeting with my life. I don't want to have any more appointments with her at any age. Don't get me wrong. I still believe that having an appointment with your life is important for everybody. Just don't make one with mine. She is too busy, bratty and lame.

PS. Middy thinks it's always about her and wanted me to post a sketch that she did of the three of us. To keep on good terms with her, I've posted it above. I'm the one in the middle with bite marks.

Postcard from the Sea of Life - The Laziest and the Best

Pool, digital painting

PARADOXICALLY, MY DIGITALLY PAINTED POOL was inspired by the laziest artist I know and the best artist I know.

The  laziest artist  is Paul W, who  was a classmate of mine in the NYU graduate painting program. Fortunately for Paul, his prodigious talent compensated for his prodigious laziness.  Being one who did not put himself out for painting (or for anything else for that matter) for the entire year he set a chair in front of his studio window and painted only that which he could view from the window. (Sometimes he included stuff on the windowsill.) Despite this rather limiting approach, he produced some  masterful  paintings. After all, it's not what you paint, it's the way that you paint it

The best artist (or at least one of them) is David Hockney. His mode of working is antithetical to Paul's for a variety of reasons, not least of which is that he travels the world while producing his art.

Pulling a Paul W. and a David Hockney:

Several years ago, inspired by Paul's laziness and Hockney's ipad paintings, I decided to paint  only what I could see from from my pool chair on my Ipad.

I had no supplies with me anyway and no inclination  to move from my chair, so, I decided to give digital painting a whirl. Usually a studio artist, I  am the first to admit I left my comfort zone. More like it, I was totally out of control but managed to paint my inaugural digital painting, Pool  and loved every minute of it.  To keep myself going,  throughout my technical bungling, I kept chanting a refrain I learned from Professor Torreano, my painting teacher  at NYU"

"If you know what you're doing it's craft; if you don't know what you're doing, it's art!"

 The above painting, Pool, definitely qualifies as art!

Picasso's Model

Picasso's Model from my book, The Flyiing Unibrow

Picasso

 saw things through a prism

confounding as astigmatism

producing a major schism

between what's real and painted.

 I saw a model passing through

who looked like Dora Maar–it's true!

 reflected in my mirror view.

Here's what we two had to do:

I screamed,

She wept,
I fainted.

Just What She Always Wanted

Vincent van Gogh

ran out of dough

Concomitantly he cut off his ear.

 How drear!

When the ladies scolded him,

 Their chides emboldened him

It was clear

Vincent could no longer hear!

He queried his escort while drying a tear,

"What do you think I besmear when I leer

 I've just got this lust for life. No fear!

My brother will take care of us, dear.

I assure you I'll be able to pay some day

After I paint Sunflowers...OK?

Then Starry Night, so we won't have to fight

 Besides, I love you. You're my delight.

Perhaps, dear one, it may seem queer

That I drink absinsthe rather than beer

So out of the ordinary I do want to veer
I'm giving you part of me... my ear!"

The Making of an Artist: The Ten Second Introudction

WE SHOULD ALL PRACTICE  the 10-second introduction. I have learned that you can hold a person's attention for that long before his or her mind starts wandering. Below is the best I have come up with, and I must say, I feel a little like Robert Di Nero in Taxi practicing "You lookin' at me?"  Here goes:

"I'm a painter. I explore and rearrange the beauty of the natural world, fusing humanity with nature. The end result is more beautiful than each of them alone. Would you like to be rearranged?"

Castle in the Sky, mixed media on linen, 36 x24 inchesMMMMMMMMM

Most likely Di Nero would have said, "You lookin' to be rearranged?" OK, OK! I might not use the last sentence. I have to ask my coach.
 
I'll use the above or a similar image on a card to handout to all of the people who ask, "What do you do?" Because, we all know that a picture is worth 10-seconds worth of words!

Monmouth Museum

Catcher, acrylic on linen, 36 x 24"

THE FALL ART SEASON is upon us and I am thrilled that my first scheduled exhibit for the season will be at Monmouth Museum in its  exhibit PORTRAITS: A Juried Exhibition. 
The Museum Curatorial Committee selected, my painting Catcher.

My model for Catcher was my nephew Madison McLaughlin. While trying to get his likeness on canvas several unwanted McLaughlin faces (Madison's mother, father and  brother) appeared  on the work in progress. I gave myself a pep talk, saying, "Well, you're in the right gene pool, maybe the deep end of the gene pool, but the right gene pool nevertheless."

I continued working until I "got" Madison.  It occurred to me that this might be the main difference between artists and non-artists. A non artist will simply say that he can't draw something.  Sometimes artists can't either, but we keep on trying until we can.

I hope you all come to opening night, September 18 from 6 to 8. If you miss it, the show will be there through mid-November.  I would love to meet each and every one of you in person.

  Here's the link - http://monmouthmuseum.org/events/juried-portrait-exhibition/
 

Museum of Art Fort Lauderdale

HERE I AM SHOWING  Alice's Aura at my very first museum exhibit.  It was the Spring Juried Art Exhibit at the Museum of Art of Ft. Lauderdale AN Academy of Art and Design. It was curated by their director and lead curator, Bonnie Clearwater. The staff at the museum told me that Ms. Clearwater thought my art was a cross between Alice Neel and Frida Kahlo.

They placed Alice in a  premier location in the gallery, directly in the center of the window looking out onto the street. Not only did it look out on the street, but it looked across it to where  the paintings of Frida Kahlo  and Diego Rivera were showing at the museum's main exhibit.   I felt thrilled and humbled at the same time to be showing in such proximity to these great artists.   I hope some of their  greatness rubbed off on me!

Even if it didn't, I was proud to be there!

Here's a better look at Alice's Aura

Alices's Aura, Acrylic on linen,40 x 30 inches

Protinus

Two Foxes, acrilic paint on linen, 36 x 24 inchesxxxxxxxx

 Painting Consuelo, acrylic on linen; 40 x 36 incxx

LAST NIGHT  I had the honor and pleasure of being included in the show Protinus with an extremely accomplished group of painters right in the middle of the zeitgeist at Dacia Gallery, NYC.  The paintings of mine that were curated for the show are shown above.

Dacia is a beautiful, intimate  gallery, well located on the Lower East Side (53 Stanton Street).  There was an excellent turnout for the opening. Lee Vasu, an artist himself, is the curator and co-founder of Dacia along with his business partner, Damian Salo. Lee and Damian are very nurturing to their artists. They had all the artists give informal talks about their work at the opening.  It was very inspiring and a lot of fun! I loved showing there.

You you can view my talk at http://youtu.be/XzscztPxd4k