Introducing something new! For now, I’m calling these “Phalanges”…I often work with mixed media and found objects – recycled artwork, packaging, various papers, and more. These are small (3″ x 3”), unfinished mixed media collages. I set aside 10 to give away at February’s Art Attack, and I’ll do it again in March.
Pick your favorite, and write your name, mailing address and email on the back. When I finish the collage in the coming days, I’ll mail it to you! If you’d prefer your collage to arrive in a frame, I can do that for $25.
PS: your contact information won’t be shared with anyone, ever!
This project grew out of my experience with a significant injury to my right (dominant) hand.
I was dismayed (understatement!) to find that the injury left me without the ability to legibly write my own name, or take the cap off of a pen or tube of paint by myself – to say nothing of everyday tasks like getting dressed, using the bathroom, and cooking my own meals on the stove.
I tried to be patient while waiting for the healing process to take hold. I tried to return to the studio and do left-handed drawings and paintings, as I’d done in art school. The thing no one told you then is that experimenting with your non-dominant hand as a warm-up is one thing, but when it’s all you have, it’s murder on your identity and sense of pride. I had to abandon those drawings because it was sending me deeper into depression. I tried making some collages, but using a blade with my left hand was scary and begging for another accident. I was unable to use scissors.
Out of sheer desperation and the need to make something (anything!), I started tearing bits of paper and old collages, whatever I had. I bought a sewing machine because shoving papers through it didn’t require any fine motor skills, or strength, or finesse. I made greeting cards with sewn collage items on the front, and on the inside, sewed a hopeful message that I’d printed out, and that I didn’t really feel. I stamped the greeting and everything else, and got away with block-printing my name. I mailed a card to just about everyone I knew. It took me about six months because I was so slow, but that’s what I had to do to stay sane.
The reaction I got was amazing. People called, and messaged me. They cried. They said I’d surprised them, and made their day. They shared stories about the first time they met me, or what they were currently dealing with. Most importantly, they said the cards meant something, that they’d brought something hopeful and special to them.
They may or may not have needed this – but I sure did.
Nobody ever gets real mail anymore…it’s email, which is great, but you can’t hold it in your hands. Or on those rare occasions when you do get mail, it’s junk (at best), or something you just don’t want to deal with (at worst). I wanted to bring a little bit of joy where it doesn’t seem to exist anymore.
So I adapted these little Phalanges that can go out in the mail and surprise a few more people. They’re fun for me to make, and I hear they’re fun to receive. I plan on continuing this sharing as long as it’s still fun for everyone.
If you’d like to receive one, message me with your address and I’ll get to work.
Have you ever wondered how the art gets made? Let’s lift up the hood for a second as I introduce you to Coco Montoya. Yes, that’s Coco there.
We met through OfferUp, after my old tabouret/storage system ended up leaning like the Tower of Pisa. I knew that perching my palette on a hastily arranged mash-up of chairs and file cabinets (like I was doing) was eventually going to lead to some kind of studio disaster. I decided to get a rolling cart to use as a palette and storage, but you know… champagne taste and Miller Lite budget. I turned to OfferUp, and realized I needed to be patient for this one.
Usually a great way to get very good stuff, I met more than the usual number of cranks and/or missed opportunities during this search: a guy who tried to start a bidding war by doubling the price on me, a very nice but flaky former mechanic who wouldn’t provide measurements for her utility cart (I really wanted to buy from her because I was charmed by her profile pic which showed her smooching her girlfriend in front of DIY garage projects), at least ten people who never replied…(I had big plans for the retro bar cart that featured folding panels to double the surface area, would’ve looked so good in the studio *and* converted into a martini bar for openings…but it was not to be).
Even Coco and I were star-crossed at first. The offer was made and accepted, but the overeager seller forced an immediate meeting by loading up his truck and getting on the road, when I was 40 miles away at the time. I almost backed out because I didn’t want the pressure, and I prefer inspecting these items in daylight.
But everything looked good, and he made the delivery for $5.00 (unbeatable!). We had a nice chat about my late father-in-law, who would have enjoyed that Coco used to help paint cars. He expressed condolences, which I genuinely appreciated. He also thought I was crazy when I said I was on foot. I paid him and proceeded to push Coco up the hill to my house, whistling in the dark.
She had to live in my entryway for about a week, until I could make arrangements to get her to the studio. I sucked in my stomach and inched past her every time I went up or down the stairs, or in and out the front door. She was a shoe/mail/purse holder during that time, because there was no room to reach around her.
When I brought her to Seattle, we had to tackle a short flight of stairs. I wasn’t worried (but maybe I should have been). Coco isn’t heavy, just a little long and awkward, but I decided to take the shelves off to make it a little easier on myself. One step at a time, and just two steps from the top, Coco turned on me. I don’t even know what happened but she was falling and I was falling, and she was on top of me and we both fell down the whole flight of stairs. She fell on her side while I landed on my feet, unbelievably.
I pushed past the bruises and adrenaline and finally got her in the studio, to find that she was now leaning noticeably to one side. I couldn’t fit the shelves back in because she was out of square. Poor Coco! Down, but not out. Fast forward to acquiring a rubber mallet named Marge, and slamming Coco back into shape (that hurt me more than it hurt you, Coco). In minutes (or two weeks, but who’s counting) she was ready to go. She’s only been part of my studio practice for one evening, but we’ve got a long history.
She might seem high-maintenance, but she paid me back that very first night when I finished TWO paintings that I really like. This is the beginning of a long and beautiful friendship.
At this time of year, I like to celebrate the arrival of longer days by sending a little something by mail. It’s a little old-school but I have this idea that people might like to receive something that has a stamp, that you can hold in your hands – and that’s not a bill.
Here’s the online version of my postcard (and if you’d like to receive the real one next year, you’re welcome to contact me with your address).
On February 1, we’re halfway between the winter solstice and the spring equinox. In Celtic regions, this was traditionally a pagan feast day to celebrate the lengthening of the days. Literally, it is a return to the light. I love this increasing daylight on a physical level, as well as a metaphorical one. It’s wonderful to see the sun more, and to feel as though we’re all crawling out of hibernation.
Catholicism eventually coopted the day, and it became St. Brigid’s Feast Day. A patron saint of Ireland (and of beer!), she founded an art school and was quite likely a lesbian. St. Brigid’s crosses are still hung above doorways in Ireland on Imbolc to protect a house and its inhabitants.
This time of year is so full of promise. Here’s to longer days, new beginnings – and more paintings!
Going from US Pacific time zone to Venice, Italy was a nine-hour time difference, and I was struggling. My journal states, in a mix of Italian and Spanish: “Io sono en una guerra contra il jet lag!” This meant sleeping half the day (not my style, but I simply couldn’t help it!) and staying awake until 4:00, 5:00 or 6:00 am.
I quickly ran out of guidebooks and other things to read. Italian TV (lots of game shows) is OK only in small doses. After a light skim through news from home (I tread lightly these days) and ruing the lack of activity by the Red Sox in the offseason, I was looking for ways to pass the long nighttime hours.
I remembered an old horror movie I’d watched once, Don’t Look Now, that took place in Venice in the winter. I had vague memories of Donald Sutherland, walking through foggy streets and catching glimpses of a red-coated figure who may or may not have been following him. I found it on YouTube (full version!) and proceeded to watch it on my phone in all its cropped, tinny-sounding glory.
Here’s the thing: I really liked it. Some flourishes feel a little over-the-top in the way that only a film from the 1970s can be (clothing and Sutherland’s facial hair, naturally; the volume of the score, and a sometimes overwrought cutting back and forth to red ink stains symbolizing blood). But the things it gets right are wonderful: tension, grief, scenes of art conservation within the church.
The best part was watching the city of Venice take the stage as an important character. Venice is a city of narrow alleys and canals; it’s entirely for boats and pedestrians, and it’s made up of glances. Indoors, yes, you can stand in a church and stare at artwork as long as you want, but outside…You catch glimpses of people before they turn down another alley…they cross your path up ahead and are visible for just a second before the wall blocks them from your view again…a boat passes by and then you’re looking at its stern as it heads away from you. That kind of looking is foreign to Americans, where country roads provide an approach and city blocks are long. We’re used to having the time to visually consider our surroundings. The movie really captures the sense of how things move in Venice – and capitalizes on it to generate confusion and tension – things floating by your periphery and they’re gone…on the water, passing by in alleys…you turn around and it’s just gone. Blinks, moments. Which is funny in a place that’s essentially not changed in 500 years.
Being in Venice on Christmas Eve, I had to attend Midnight Mass in the Basilica di San Marco. I was attending not as an active parishioner, but out of a deep sense of curiosity: how would one of the largest and most famous cathedrals in the world “do” Midnight Mass? (Catholic roots run deep!)
For those who don’t know: Midnight Mass happens just once a year, on Christmas Eve. It’s a very special occasion to usher in Christmas. Most churches, even the smallest ones, work to heighten that experience by bringing out extra candles, decorating with evergreen, maintaining a beautiful crèche (the tableau of the babe in the manger) and so forth.
We waited for some time in a line that stretched three-quarters of the way through the Piazza di San Marco, but were able to get fairly good seats inside. San Marco is dazzling, known for gold mosaics rather than frescoes like some Italian churches, because the humidity near the water wouldn’t be as kind to fresco.
The mass was delivered in Italian, German, English, and French, each taking a turn while winding through various readings and gospels. While I was listening, I was mostly looking around me at the various artworks commissioned by the Catholic Church: enormous pillars of marble, golden chandeliers encrusted with red jewels, the large baby Jesus resting on poinsettias at the altar (even from this distance, clearly the largest and most beautiful statue of this kind I’d ever seen), the various statues, the pattern in the marble floor…
But the mosaics. Oh, the mosaics. They cover the ceiling as well as the walls, showcasing important figures and moments in the church, glinting down at us in all their beautiful longevity.
I found myself considering, not for the first time, their purpose…the basic idea is this: until just 50 years ago, the Mass was said in Latin, which no one but the most highly educated people, the priests and monks, would understand. No regular churchgoer would be able to follow along; this was as true in the 1960s as it was during the Renaissance. Therefore, the Church has always used visuals to communicate. Picture yourself in 1084, when the Basilica was consecrated in its more-or-less present iteration (although it was a private chapel for Venice’s leader, the Doge, and not for the public at that time). You can’t understand what’s being said, but there is an enormous, glittering Jesus covering the entire ceiling above the altar, reaching out toward you with one hand. You can look around and identify stories from saints’ lives, and you know who is who because of their symbols (San Marco, for example, is often symbolized or accompanied by a lion).
I remember being in Monreale in Palermo, visually devouring their mosaics, the first time I realized that the Church would have had me hook, line, and sinker if I were alive back then. You had me at hello.
Even as a child, I was always looking around the various churches I attended: the niches holding statues; the bas-reliefs on the walls, called stations of the cross, that told the story of Jesus’ crucifixion; the actual crucifix – huge – that hung behind the altar, and each individual church’s emphasized a different aspect of that death (some stoic, some peaceful, some downright gory); and of course, the stained glass windows.
On the few childhood occasions when I attended a Protestant church with another family, I was immediately struck with boredom by their simplicity of decoration. Sure, the kids got to come up and actually gather on the altar (forbidden to Catholics, but sort of cool) but it did not compensate for their plain white walls.
To this day, I wonder if I’d be an artist if I hadn’t grown up Catholic, wanting to fill white walls!
So this is all going through my head during Midnight Mass, in between staring up at the ceiling and walls and following along in Italian and English. A gospel according to John is being read, which equates God with life and light:
Light that shines in the dark: light that darkness could not overcome. A man came, sent by God; his name was John. He came to bear witness, as a witness to introduce the Light so that all might believe through him. He was not the Light but a witness to introduce the Light. For the Light was coming into the world, the true Light that enlightens everyone.
Somewhere in here, someone threw a switch that turned on the interior lights in the Basilica, so that we simultaneously heard the dramatic thump of many banks of lights being awakened, and saw the entire Basilica come to golden life before our eyes. We hadn’t even realized we were in the dark until the lights came on. *Now* we were looking at mosaics! *Now* we were clear-eyed, not peering into dark corners. Everything is illuminated. Everything is full of light.
That was Midnight Mass in the Basilica di San Marco, and that is vintage Catholic Church. Welcome to the greatest performance art ever staged.
Buon Natale from Venice, where I’ve gone to meet my wife over the holidays.
Some thoughts on the movie Loving Vincent…
It is both spectacular and maddening.
The plot is ridiculous: Armand Roulin, twenty-something son of the bushy-bearded postmaster whom Van Gogh painted so memorably, is tasked by his father with traveling to Paris in order to deliver Vincent’s final letter (to his brother, Theo). Armand has reservations about doing this, and ponders his obligations while drinking too much, but eventually goes to Paris, where he discovers that Theo has also died. Armand quickly decides that he must travel to Auvers, where Vincent died, in order to deliver the letter to a friend with whom Vincent was close in his final months (Dr. Gachet, also memorably painted by Van Gogh).
First plot objection: Why didn’t Armand even consider locating Theo’s widow, Joanna, in Paris? If I were her, and I found out this drunken punk decided to give my spouse’s final letter to a friend of approximately one year’s standing, I’d be furious! [But of course, if he’d attempted to find Joanna in Paris, this would be a different movie].
Here’s what I loved about the movie:
The most engaging moments were the first ones of the moon, and of Arles, and then late in film when Dr. Gachet appears. I actually caught my breath when I saw him leaning on that famous table, with his head propped in his hand.
The film correctly and nicely recreated the flatness of many of Vincent’s paintings, particularly the portraits, with little depth between the figure and the wall behind.
It was probably at its best depicting landscapes.
It was visually stunning in many ways. I caught my breath several times. It was clearly an accomplishment, but that being said, it was clear that the original paintings were the real triumph here.
The opening credit sequence was magical; I could have watched that moon shapeshifting all night.
The film recreated 74 Van Gogh paintings, and it was a complete thrill to recognize them.
Loving Vincent was first shot as a live-action film on sets recreated from Van Gogh paintings. The film was then broken down by frame and painted, each painting (65,000 of them) was then photographed, then painted over for the next frame. Eventually, all of the frames were animated. This way of working reminded me of William Kentridge’s charcoal drawings that turn into films. In both types of films, you can see the results of this way of working in images like the windmill turning – you can see the track of the blades in the impasto of the oil paint.
Here’s what bothered me about the movie (in addition to the overarching plot):
I questioned sub-plots too, finding it hard to believe the suggestion that Vincent may have been romantically involved with not only the young Marguerite, but also flirting and chatting with several women by the riverbank. Vincent was way too awkward, and that just wasn’t his style.
The accents were off-putting. Both Roulins, father and son, have two wildly different accents.
The film’s title is a little much…it becomes more palatable when you realize that was the way Vincent signed all his letters (“Your loving Vincent”). But still. Too literal and cloying for my taste.
Sometimes the film felt a little CGI (related to the figures), and a little slick…and Van Gogh was the antithesis of slick.
The end credits reveal that some characters were not real people, but rather “inspired by” people in Vincent’s paintings. Vincent’s life was dramatic enough; I’m not sure the film needed to invent additional “characters”.
No one loves a good mystery more than me…but if I heard this correctly, the final analysis is that the bullying teenager basically committed manslaughter by fooling around with a gun…while Vincent committed a suicide of sorts, by stoically not accusing the teenager, and letting it be assumed the gunshot was self-inflicted…meanwhile, Dr. Gachet, who acted as Vincent’s confessor and entertained his deathbed laments that he was a financial and emotional burden on Theo, essentially granted Vincent’s suicide wish by not removing the bullet and allowing Vincent to die (slowly)…sounds like murder!…especially since, as another character points out, Gachet had been a military doctor in a war zone; he should have been able to easily remove the bullet, particularly since it wasn’t immediately fatal. Physician, do no harm!! Would a doctor really have allowed a healthy man in his thirties to slowly and painfully expire like that?
The murder theory comes from a biography by Naifeh and White. Maybe there is a case for that, but knowing that the filmmakers have invented some (silly) aspects of the story and smoothed over others to make for a tighter film, I feel like I need to research for myself before I can believe this.
The film is beautiful in many places. Not many films can make you catch your breath – and not just once, but over and over.
I want to keep watching it…but maybe with the sound off? Yes, I’d like to see it again. There is real magic in this movie, even though you are also a little too aware of how hard the magician is working to produce the rabbits.
It’s always exciting to see where your creations end up! I just received this photo from a new collector. He told me that the painting greets him and his wife whenever they come home; it’s the first thing they see when they come through the door. For a painting called Domicilio (“home” in Italian), that’s beautiful to me.
My painting arrived safely, and one day early! Washington state to Brooklyn!
I didn’t realize how much I was on pins and needles until now.
My understanding is that the drill is charging, and the painting will be hung tomorrow….more anticipation!
Driving along the Long Beach Peninsula in our beautiful state of Washington, I saw the above roadside sign, and had to pull an immediate U-turn. “Painting Goats” raises more questions than it answers.
Yes, there really are goats who paint with real art materials on this art studio/working farm. We took a tour with one of the owners. While I would have loved to have seen a painting goat in action, we did see various artworks, and learned about individual painting habits…apparently, some goats are more invested in painting than others. They generally like to imitate their humans, which is how this talent came to light in the first place, but some persist in painting, while some are very quickly ready to move on. We met some of the goats too.
We bought a small painting for a Christmas tree ornament.
Another first-time experience: we dug up our own potatoes, onions and carrots!
Crated up and ready to go! Heading for Brooklyn! Thank you, Craters and Freighters!
I just dropped off a painting, to be packed and shipped to its new home in Brooklyn! First time sending something so big and so far!
I saw this sign at an art gallery/studio in a beachside town in Oregon and felt a little zing of recognition. I felt it in my body to be true.
Artists are shapeshifters. We work with our hands; we get dirty. We read, absorb, and digest. We watch and listen. We feel, deeply. We philosophize. We attend cocktail parties and auctions. We sell expensive work, if we’re lucky and work very hard. We sell no work at all. We donate our work to people or causes who have less than we do. We will often do whatever it takes for the sake of the artwork (even if that means doing without in other areas, if only temporarily. Read as you will: scrimping on sleep/food/rent/non-studio experiences…most artists have done it all). We’ve been insiders. We’ve been outsiders.
Maybe much of the above is buying into the myth of the artist (that noble, poor, misunderstood creature). But I’ve been all of these things, and I do believe that this ability to shapeshift, the way we can be everywhere, is important, even strategic. We can make people slow down, and we can make them feel.
Today, that’s a superpower.
As the end 2017 approaches, I’d like to take a moment to say thank you. This has been a momentous year for me in many ways, with a hand injury to work through, new projects begun, a move into a new studio space, and more. I’m grateful for the flowers brought to openings, the kind words about my work – through emails, guest books at shows, phone calls, and heartfelt conversations. I’m grateful for everyone who dropped by the studio, and their friends for coming along. I’m grateful for new collectors, longtime collectors who continue to support me, and fans who root for me from afar with clicks and Likes.
I appreciate all of this, and more. I’m deeply grateful. Thank you.