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