So, ya, it has been way too long since I have posted anything here. It's not that art-making has been off my radar; indeed, quite the contrary. I think that my new-painting pace has slowed a bit since the summer months but I've been busy with the pen and ink in the sketchbook and with revisions/adjustments to work I thought I'd completed. I have several ideas in the works-including the "What we talk about when we talk about love" picture(s) which is/are now in an advanced stage of charcoal rendering and will soon find a way to some shape or form of canvas. (I'll move on next to watercolor and become frustrated because I'll want to mat and frame.) SO, maybe I will just jump right to a canvas.
Searching for new studio space has become a priority. As of 22 December I will need to relocate from my present situation at 83 Newton St. Studio-mate/sub-lessor sees the need for more space and less of my presence........I'll miss the convenience of a close-to-home space with a sufficiently neutral ambiance that I can actually work when I am there! And I have just gotten good with the wood stove so that 30 minutes after the first match I've got a comfortable place. Oh well.
There may be a good substitute on the horizon; I will look at new space in an artist-populated Class D building close to home next week. We'll see.
I told a cyber-friend that my next (this) post would be nudes upon nudes. She's an artist's model in Brooklyn and writes an exceptional blog called "Museworthy". The images which accompany this posting I offer her as well as to those who would stumble upon this record. Museworthy's writing is worthy of attention. What's on her mind finds its way to the accessible digital world in a refreshing style and tempo. Honestly, I don't know how someone as busy as she is with her musing and related activities can find the time to present such a remarkably thoughtful journal with spectacular historical perspective and accounts of her own work and heart. Read it!!
Images #1, #4 and #5 above are pastel renderings of an artist's model I had several opportunities to work with both in group life drawing settings as well as in my studio. Cindi acted as sort of a "den mother" for several models (she explained the how and what the work was about to the novice model) and she was something special for artists, also.
The artist/nude model transaction may be unique in the context of social interaction. Clearly, a rendering of the subject is the objective but it is undeniable that the offering and acquisition of the nude is an exceptional, though traditional, exchange conducted by, at least in my experience, otherwise strangers to each other. In the ideal exchange both parties disrobe: the artist in a "figurative" way, the model in quite a literal fashion. If you accept the proposition that, regardless of the subject, the artist paints "himself", i.e. the self "he" "knows", the self "he" seeks to know, or the self unknown to "him", the nude rendered may reveal as much or about the artist as the subject. I think that art, assembled in a setting where artist and model have a remote posture vis a vis the other, has the greatest potential for success. Cindi endeavored to facilitate such work, I think. She precipitated a flow of expression I don't always find in some of my other work. The faster the rendering, the less thinking, the better.
