Two Cans

"Two Cans", 50" X 32", acrylic on canvas, 2011.

Cans Continued...

"Spidey Can", 40" X 44", acrylic on canvas, 2011.

"Roadkill", 30" X 46", acrylic on canvas, 2010.

"Canada", 30" X 48", acrylic on canvas, 2010.

More or less recent paintings. Continuing along with the theme of cans that have been transformed by a traumatic encounter. The "Roadkill" painting was added again as this image is a much better representation of the original.

'Road Kill', the Slow Reveal

I tend to follow the same process with each painting. The drawing is done on tracing paper using a grid then transfered to canvas. Every step following that is detailed above.

Apologies for the really bad photos but our little digital camera is not kind to large flat surfaces (I still use film). Promise a good image of this and others when I find a way to do them justice.

The painting is called 'Road Kill', 46" X 30", acrylic on canvas, ca. 2010.

Cans

Coco, 18" X 20", acrylic on canvas, 2009.

Crush, 18" X 20", acrylic on canvas, 2009.

Crushed cans are a challenging subject, maybe that was the initial fascination. There's also something about the individuality they take on after being subjected to overwhelming force, the end product of an entirely random series of events.

And a Little Earlier...

Fourty, 34" X 32", acrylic on canvas, 2006

Bicycle Post, 34" X 24", acrylic on canvas, 2006

Fire Hydrant, 48" X 36", acrylic on canvas, 2005

Logan and Victor, 42" X 34", acrylic on canvas, 2005

Some earlier paintings than the ones shown below. Fragments inspired by cruising around the 'hood.

Paintings

Ron, 50" X 36", acrylic on canvas.

No, 22" X 28", acrylic on canvas

Immigrant Window, 36" X 30", acrylic on canvas.

Sorry We're Open, 30" X 40", acrylic on canvas.

1962, 20" X 24", acrylic on canvas.

Orphan, 28" X 22", acrylic on canvas.

Orphans (diptych), 56" X 22", acrylic on canvas.

It's probably time I posted some work (or anything for that matter) on this blog. All relatively speaking recent pieces. I am not prolific. In any case the work itself dictates what needs to be done and how much time is required to complete it. I sometimes feel I'm being led by the whole process.

Shadow Notes.

June 6, 2009, 10:30 to 11:45. Jackman Hall, Art Gallery of Ontario. 'Shadow Notes' was a moderated panel discussion on (Leica) photography influenced by music, and held in conjunction with Luminato. Given that tickets were only $15.00 I was surprised the auditorium was only about half full. There was a small table by the door selling Ralph Gibson's book 'State of the Axe' and Andy Summers' 'Desirer Walks the Streets'.

Started 15 minutes late. Moderator Robert Enright (who did an excellent job moderating, by the way) opened by introducing the panel, photographers Danny Clinch and Ralph Gibson, and musician/photographer Andy Summers. The atmosphere was relaxed and intimate and the discussion lasted about an hour. Facing the stage moderator Enright sat on the left followed by Summers, Gibson and Clinch to the right respectively (in case the photos are not clear enough to make the distinction).

What I came away with. Early on Andy Summers wanted to learn to paint as a creative escape from his all consuming music. Photography went a long way to satisfying the need to produce visual compositions and was a much better fit for a musician always on the road. When he's on the prowl with his camera he's taking everything in, his eyes bouncing around looking for the next picture. Always autobiographical, his photography has travelled the globe along side the music. In my opinion Summers is a gifted shooter and his books well worth acquiring.

Ralph Gibson was studio assistant to Dorothea Lang and later Robert Frank in the 1960's. Then subsequently the founder of Lustrum Press, an important early publisher of art photography books. Since then exclusively an art photographer (and icon). Ralph told us that Dorothea Lang gave him the best advice ever which he imparted to us, damned if I can remember though. He also said he never picks up his camera without knowing the exact image he's going to photograph. A passionate guitar player he has taken inspiration for his images from both instruments and musicians.

Danny Clinch has photographed many of the great musicians of our time. With the persona of a musician and respected as an artist in his own right, he moves freely in the subculture that has grown up around sex, drugs and rock and roll. Clinch related to us what it takes to break into a career like his. His 'Johnny Cash by the Stage Door' photo was his last of an hours long session with the star but he knew it was the photo he'd come there to take. He also talked about getting Neil Young into an old Cadillac for a photo shoot.

All three are confirmed Leica film camera users, the suggestion of digital brought groans from all quarters on the stage. After the discussion Ralph Gibson and Andy Summers made themselves available for a book signing.