Studio

When I was a kid I would lay on my bed dead still with eyes closed. After awhile I could feel myself slowly fill the room wall to wall, floor to ceiling. I could hear the closeness. I would stay in that state. I wasn't thinking of anything. It was more of a body awareness. A sort of active meditation. Eventually I would move a finger or toe and be instantly back to my normal size. I don't think I could have done this anywhere else outside this room of my own.

My current studio is across the street from my home and next to my garden. The studio is about 550 square feet. I prefer working next to home. The line between art and life melts away. I eat lunch at home. I hang out in my garden. I'm usually in the studio by noon and paint until eight or so.

My tables are arranged around an open center so the workstation can easily move to where I'm painting. There is storage under the tables and suspended from the ceiling along one wall. The area under the suspended storage can be cleared out leaving all four walls open for a studio show or sale. The lights above the tables are attached to wooden frames and can be raised or lowered as need be. Packing materials are stored above the lights. There is a small slop sink in the space which is something new to me. I like organizing and making up systems that support my process. It reminds me of life creating systems that support survival.

I make the space safe and the environment comfortable. Because I experiment not only with materials but also with feelings of being lost and not knowing, it's essential for me to have this space that I control and organize. In this safety zone I can explore feelings and emotions that would be difficult to look at in the outside world. My studio fills with paintings as I try not to break the spell that is cast.

The open center area.

The open center area.

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The work station that can be moved to where the action is.

The work station that can be moved to where the action is.

Irma and System

These 2018 paintings became too busy because I kept adding to make things better. Like most of my paintings at some point these two were not working at all. They are probably my best example of obsessive working without a plan other than to accrete. Through this process I've noticed something beyond my control self organizes and makes sense within the context of the painting. But with Irma and System the confusion was too much. Nothing could be seen. Before I painted another layer which I knew would only add more visual chaos I sanded the flat resin surface fogging out everything. Clear gloss media was used to cut through the sanded blur in places. They were saved.

After almost two months away from the studio I find myself painting bigger and faster with more control. Irma and System might mark the end of something I've been working on for awhile.

Irma    24" x 24"    ( Irma  is a recycled earlier painting called   Pinkeye )

Irma  24" x 24"  (Irma is a recycled earlier painting called Pinkeye)

System   24" x 24"

System  24" x 24"