Friday, August 19, 2016
Thursday, August 11, 2016
Esopus Creek, 2016, monotype, image 6 x 8 inches, paper 8 1/2 x 11 inches
I have caught the monotype/printing bug real bad! Painting has come to almost a complete halt, not something I want to admit but it is the truth. I look forward to the days when I get to print, most of my energy now goes into planning and sketching for monotype days and nights at either the Salmagundi Clug or at my friend Rob's studio. The monotypes are being well received by most people, it seems like the dark aspect of the images and their moodiness captures viewers attention far better than my colorful paintings. There is something more mysterious about them, and that seems to really get people's attention. It used to bother me a lot since it made me think perhaps I was not such a good painter after all, but I am learning not to fight it, so full steam ahead the printing continues.
Arbolado II, 2016, image 8 x 6 inches, paper 11 x 8 1/2 inches
Things have started to evolve, and I'm now in the process of creating two new series of works that stem from these monotypes. The first series is called Arbolado, a group of prints where I will be coming up with images of walls of trees that take up most of the page. These are an exercise in imagination, speed, and my understanding of composition. How many of these can I make without them becoming repetitive? I have set a goal of ten, but perhaps will continue further until they develop into something more. My approach is simple, work fast, come up with the image on the spot and let the inked plate guide me as I start making marks, and try to keep more of an abstract composition. The image above is No.2 of the group, which I will share more of in an upcoming post.
Farmlands in Kripplebush, 2016, monotype, image 6 x 9 inches, paper 8 1/2 x 11 inches
The next series involves the ghost prints I have been collecting and did not know what to do with. Last month I almost tossed them out but decided to keep them for one reason or another. I did not want to touch them up with pastels or watercolor in fear that I would create a mess. Also, I did not want to copy Degas who is known for reworking his ghost prints. But the old light bulb went off in my head the other day and I had an idea on how to use said ghost prints in a way that I could incorporate painting. Still trying to figure out the technical side of it but soon as I get it down I will post the process and outcomes. As always, thank you for checking in, more work to come!
Monday, August 08, 2016
At the Edge of the Charles, 2015, oil on linen mounted on panel, 9 x 12 inches
Last Thursday night was the opening of Bowery Gallery's 25th Annual Juried Exhibition, a group show in which my painting At the Edge of the Charles was included. Juror Martica Sawin had the daunting task of going through 386 applicants work and choosing the final 39 pieces which are on display until August 20. Here are a few images of some of my favorite pieces and of the night.
Standing next to my painting, At the Edge of the Charles, which hung right above the front desk. Photo credit: Diane Drescher
Blake Morgan, Wichita Mountains 2, 2016, oil on paper, 22 x 30 inches
Blake Morgan, USAO Wildlife Habitat, 2016, oil on paper, 22 x 30 inches
Kathy A. Moore, Mirrored Still Life on Striped Cloth, 2013, oil on canvas, 22 x 28 inches
530 West 25th St 4th Floor
New York, NY
Gallery hours: Tues-Sat 11am-6pm
For information call: 646.230.6655
Ivy Hickman, River Walk (Dominican Republic), 2014, monotype, 18 x 14 inches
Wednesday, July 27, 2016
Monday, July 25, 2016
Prospect Park Lake, Three Islands, 2016, oil on linen, 10 x 16 inches
These two paintings are from June, and I'm finally getting around to posting them. Lots of going on during the first half of this year which has prevented me from doing much painting, but things are slowing down and I'm getting back into the groove. This painting (above) is another one from Prospect Park, Brooklyn, a place I'm enjoying to explore. This part of the park was ideal, it reminded me of something Monet would have painted. Not that I'm comparing myself to such a genius, but if you come across something Monet would have enjoyed painting then why the hell not give it a shot? It turns out I'm very happy with this piece, and I may go back to the same area and make a few more paintings. There are some grander views of the lake if you were to move back from this spot and look towards the right.
On a Cloudy Summer Day, Olivebridge, 2016, oil on linen, 9 x 12 inches
As always, this view in Olivebridge never gets old! There are so many colors in this area and they keep changing as the day progresses. Just like in this painting the clouds above float in such a majestic way, sometimes they seem to come down and engulf the mountain to the point that it becomes invisible. The different qualities of light according to the seasons changes the color of the mountains. Sometimes they are an intense blue, other times earthy orange with lavender, then deep grey on rainy days, and on a day like this one the mountains were a crisp blue green. It's hard not to keep painting this scene when it is constantly providing so much inspiration. I'll be back there in two weeks, can't wait to see what other surprises this mountain has for me. More to come.
Friday, July 01, 2016
When Evening Falls, 2016, monotype, image 6 x 8 inches, paper 8 1/2 x 11 inches
These are my latest prints, all accomplished during the all night Draw-A-Thon at Salmagundi Club last friday. It was such a fun night, even better to see such a great turn out of artists who worked through the night on figure drawings, portrait painting and monotypes. As with any monotype party at Salmagundi, I went into this all night event with a goal in mind. Get as many prints done as possible. A few days prior I was able to make a print per hour, so I figured I could do the same on this night, which would put it at a total of nine prints. But early in the night I could tell that it would be close to impossible, so I lowered the goal number to six. Mission accomplished!
Olivebridge Nocturne, 2016, monotype, image 6 x 8 inches, paper 8 1/2 x 11 inches
Not only did I go in with a number of prints I wanted to finish, but I also wanted to print with a warm black ink, something similar to what I had done on a previous print. After asking for advice I was told that the black ink I was looking for was a mixture of black and Van Dyck Brown. Not sure why I hadn't thought about it before but I was suggested that I should play around with different ink mixtures…again, why has it taken me two years to figure this out.
Colorado Hike, 2016, monotype, image 9 x 6 inches, paper 11 x 8 1/2 inches, Private Collection
I mixed Charbonnel Soft Black and Sepia and the two created this rich, deep, beautiful brown black which yielded these very moody prints. This was not the original color I intended to work with but I'm glad I arrived at it. I have been working continuosly with straight Sepia in the last six months that it was time for a change.
Tuscan Hills, 2016, monotype, image 6 x 9 inches, paper 8 1/2 x 11 inches
Changes are all around, I used to consider myself a painter but recently I added printmaker to my artist description on my Instagram account. It felt strange because this is still new but I know that making monotypes will remain a big part of work. The thing is that I'm also having a hard time with this because the monotypes are being well received by people, sometimes better than my paintings. I feel like I'm cheating on my painting and the new mistress is offering that something that was missing in the relationship. I'm not painting as much as I used to, to be honest it's sad to see the last few brushes I used either on the easel shelf or studio floor, abandoned and unclean.
Country Landscape, 2016, image 6 x 8 inches, paper 8 1/2 x 11 inches
The great thing about being an artist is that you are constantly evolving, growing, and one thing in your current work takes you to another idea or discipline, and eventually they all start communicating with each other. I know that these monotypes will eventually bring another layer to my painting, but for the moment they are not seeing eye to eye. Only time will tell if they will meet half way or will they keep on their separate ways.
Arbolado, 2016, monotype, image 8 x 6 inches, paper 11 x 8 1/2 inches
Friday, June 24, 2016
River Scene, 2016, monotype, image 6 x 9 inches, paper 8 1/2 x 11 inches
June is shaping up to be a very productive in the printing department. These are three prints and ghost prints I made three nights ago. To be honest I'm not sure how I feel about them, I think there is too much contrast and I'm having a difficult time liking them. I am enjoying the ghost prints better though, I guess not all is lost.
River Scene, 2016, monotype (ghost print), image 6 x 9 inches, paper 8 1/2 x 11 inches
Tonight I will be doing some printing and will play around with the ink a bit more to see if I get the desired effects. I think I also found the right type of black ink that will give a warmer and softer tone to the prints. Let's hope it works out for me tonight. More monotypes coming in the next couple of days.
Bend on the Road, 2016, monotype, image 6 x 8 inches, paper 8 1/2 x 11 inches
Bend on the Road, 2016, monotype (ghost print), image 6 x 8 inches, paper 8 1/2 x 11 inches
Grassy Field Near the Beach, 2016, monotype, image 5 x 7 inches, paper 8 1/2 x 11 inches
Grassy Field Near the Beach, 2016, monotype (ghost print), image 5 x 7 inches, paper 8 1/2 x 11 inches
Tuesday, June 14, 2016
At the Edge of the Charles, 2015, oil on linen mounted on panel, 9 x 12 inches
Great news! At the Edge of the Charles has been selected to be included in the 2016 Bowery Gallery National Competition exhibition. Thank you to juror Martica Sawin and to Bowery Gallery for this honor. Exhibition details below:
Exhibition dates: August 2 - 20, 2016
Opening Reception: Thursday, August 4, 5 - 8 PM.
530 West 25th Street, 4th Floor
New York, NY 10001
Hope to see you all in August!
Wednesday, June 08, 2016
An Afternoon at Nellie's Lawn, 2016, oil on linen, 10 x 14 inches
Summer is here and plein air season is off to a good start. As I had mentioned in a previous blog post, Prospect Park has become my painting playground and it has been an enjoyable place to work in. Unlike Central Park, this place is not overflowing with tourists, which can make the park unbearable, especially when you become NYC entertainment for said tourists and they start to get in front of your view to take pictures, or worst yet, they stick their heads in between you and the painting without asking. Once a I had a guy breathe on the back of my head, I had no clue he was there and when I turned around because I sensed something funny behind me I almost kissed him. I was so startled that not only did I jump but I also let out a little scream. With no apologies he walked away and continued with his friends to enjoy their tour of Central Park. Perhaps the worst was when a group of little kids wanted to play and run all around me, and little by little they became more comfortable with me being there, realizing I was no harm to them one decided to attack my easel and shake it as I painted. Their mother? She was a few feet away watching the whole thing not caring for her offspring. She was more worried about her picnic and engorging herself.
Walking Path, Vale of Cashmere, 2016, oil on linen, 10 x 14 inches
After an hour train ride south to Brooklyn, that's if MTA is cooperative, the experiences have been good so far. I have been meeting my new friend and painting buddy Charles Basman at Prospect Park in the Vale of Cashmere, a place he is very familiar with. This secluded European inspired garden is a great spot for anyone who needs a quite moment away from the craziness of New York City. Whether if you are a painter, a bird watcher, a thinker, or someone who loves to stroll this area of the park can be ideal. Not only is it tucked away from the main areas of the park where all the locals hang out, but it also can provide shade and coolness when the sun is strong.
Vale of Cashmere, 2016, oil on linen, 10 x 14 inches
According to the Prospect Park Alliance, "the story of the Vale of Cashmere, which occupies the northeast corner of the Park, actually started about 17,000 years ago when a buried chunk of the Wisconsin glacier began to melt, collapsing the soil and leaving a divot surrounded by steep walls of earth." The original designers of Prospect Park, Frederick Law Olmsted and Calvert B. Vaux, created an area in this location where it was more kid friendly, with a pool where they could sail miniature boats. In the 1890's the space was redesigned to what we see now, but over the years the Vale of Cashmere has fallen into disrepair. The granite balustrade is not longer in place, the only hints of its existence are the end columns that stand alone as witnesses to a grander past. The fountains have been turned off and nature has taken over by replacing water with overgrowth. Regardless, this little corner of the park retains a charm that is difficult to find in an ever changing city such as New York.
Friday, June 03, 2016
Marsh Off Kripplebush Rd., 2016, monotype, image 6 x 9 inches, paper 8 x 11 inches
These are the latest additions to my monotype works. A big thank you to my very good friend Robert Szot for not only buying a press but also for letting me come over and print. An artist's studio can be somewhat of sacred, private space, to let others in, especially to work, can be a bit hard for some, reason why Rob allowing me to come and use his press means a lot. Thank you buddy!
Barcos en la Orilla de un Rio, 2016, monotype, image 6 x 8 inches, paper 8 1/2 x 11 inches
Hopefully we'll get to print more often, it was a fun experience to work and chat. The studio can be a lonely place sometimes, having a like minded person was a nice change. More to come!
Barcos en la Orilla de un Rio, 2016, monotype (ghost print), image 6 x 8 inches, paper 8 1/2 x 11 inches