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Studio day... Chicken Gizzards?

Getting into the studio these days have been extremely hard, with trying to finish grant apps, work and just life, but I managed to get in for a few hours today. Having some problems with materials and how to used them. Spent way too many hours on that!  Ugh, so I decided to go old school and pick up a pencil and draw it out. Also, started on my consumption pieces.. stay tuned.  

So what, the dam work changed!

Most artist go their entire art life creating the same type of work. Some never pushing the boundaries beyond what they are comfort with or never bring their work to the edge and letting it fall over to create something new ... something different. Just like everyone else I have seen work like this and said .. "what if?.. they " but is this any of my business?!  Not really. My work began to change years before I allowed it to, for example, I did a cover piece for a local magazine in Austin and the art was so different from the current Noman Rockwell stuff I had been doing for years it surprise even me. This change was always lurking in my work, so one summer I just let go. I let go of what was working and let crazy, imperfect, weird, unrecognizable, terrible, amateurish art happen. I created work that held no loyalty to clients, schools, friends, other artists and galleries. It was liberating in so many ways but what i didn't anticipate was the total loss of my art busin...

silk screening...

What does painting want, anyway?

"It's painting like this-you are in front of your canvas, your hand holds the painting, ready, raised. The canvas waits, waits, empty and white, but all the time it knows what it wants. So, what does it want, anyway? My hands comes near, my eyes begin to transform the waiting canvas; and when with my hands holding the paint and my eyes seeing the forms I touch the canvas, it trembles, it comes to life. The struggle begins, to harmonize canvas, eye, hand forms. Finally new apparitions stalk the earth." (Karel Appel quoted in H. N. Abrams (eds.) Karel Appel. Painter, New York 1962; Theories and Documents of Contemporary Art', p.98.) 'One has to believe in what one is doing, one has to commit oneself inwardly, in order to do painting. Once obsessed, one ultimately carries it to the point of believing that one might change human beings through painting. But if one lacks passionate commitment, there is nothing left to do. Then it is best to leave it alone. For basi...