Instrument Series, both oil on canvas, both 12" x 24"

Not too much to write today, for the above pieces say it all. Regardless I will say this: The above pieces are continuing the Instrument Series for the ADC Show. An even closer view of the ballet slippers, these canvases can be shown as a pair or alone.

On a side note, I can't decide which of the series I enjoy more, all were equally challenging to paint with all that white, and all convey {at least to me} the {often exhausting} dedication of a dancer.

$200.00 each (+ tax and shipping)

EMAIL ME

True

"Instruments", oil on canvas, 16" x 16"

Above is a piece to be shown at the upcoming Dance + Art show at Atlanta Dance Central, this Friday. In an earlier post I posted pictures of my sketches from an ADC class, along with the intention to paint the figures. I think my sketches work and show the enthusiasm and originality of the young dancers, but as I approached my canvas this morning to paint them, all I could think of was, "This has been done before, by Degas no less." It somehow seemed typical, and well, not me. I like my still lives. I missed dissecting an everyday object and turning it into my own. Solving my problem creatively (my grade school art teacher would be oh, so proud) I found the one object that ballet dancers need: their shoes. This was a photograph (did you really think I had all those point shoes lying around?) that I cropped to make my own. The repetition and color (there is no use of straight white paint in this painting; it is various shades of cool and warm whites and violets) of the image invokes a sense of how many dancers go through the intense training, year after year, and some even for a lifetime. All those shoes. All those hours. All those dreams. I couldn't resist.

$200.00 ( + tax and shipping)

EMAIL ME

Raising The Bar

"Oh, It's Hermes!", oil on canvas, 24" x24"

Continuing from the last post, I have "raised the bar" of the orange above, adding an iconic and oh, so expensive Hermes label. Playing on the recognizable orange shade of the label, the orange is your run-of-the-mill 80 cents grocery store find, yet by one seal of a symbol both the value and appeal is higher, even though the contents are the same.

Admit it, you kind of like it more with the label.

$400.00 (+ tax and shipping)

EMAIL ME

Forget the Ring, If You Like It Put a Label on It

"It's not just a Pear, it's Organic", oil on canvas, 24" x 36"

Oh, labels. In today's world labels really do have such an effect, don't they? The above piece is making a comment on the organic trend {which I see as a fad, but I will admit that for some reason buying anything organic does make me feel better}, but does it matter what word I put on it? Regardless if I were to write ORGANIC, a designer's logo, country where grown, or simply the name of the fruit, the contents and health benefits of the pear would stay the same {note: if you want to argue the organic point of view, you are welcome to email me}. However, the value and appeal to the consumer would certainly change. I am intrigued with painting such a concept, for it turns the traditional still life into a sudden modern view, simply by putting a label on it. A label that is worth talking about, especially if it determine's the modern world's {skewed} sense of value.

Like this piece? It will be in The Super Friends 2: Art + Music Show at The Gallery @ Cherry Lion Studio (Same gallery as my "With A Side of Ginger" exhibition) Saturday, August 28th.

$500.00 (+ tax and shipping)

EMAIL ME

Sweet Tooth

Study of "Indulgence", oil on canvas, 8"x10"

It's no secret, I have a major sweet tooth. I usually never allow myself to go near a bakery, but nonetheless today I found myself detouring from the salad bar into Whole Foods' bakery. I was just curious (I swear!), and let's face it, there's usually free samples on Friday afternoon. Thankfully the expression "Curiosity Kills The Cat" did not prove true, and I discovered the most delectable happily colored mini cupcakes one can hope to find in a grocery store bakery. The whole idea of this array of vibrant colors, and enough sugar in one bite that one feels the need to find some sort of justification for the consumption, inspired me to buy a dozen and give them a go on the canvas. With their feel-good nature and Wayne Thiebaud's cake paintings running through my head, I created the study above, simply to see if I could make it look juicy and real enough. It's a small study, with the orange icing heating from the lamp and melting on the side... which I kind of like. The next canvases will probably have a row of cupcakes and/or a classic move of mine (you guessed it!) a cropped view of the cupcake.

From my over zealous writing, you are correct in guessing I ate my yummy, sugar filled subject immediately after finishing my study; Happy Friday afternoon indeed.

$75.00 (+ tax and shipping)

EMAIL ME

Gestures

From My Sketch Book, Gesture Drawings of Ballet Class

My sophomore year Drawing II class had a significant impact on my decision to get my BFA in Painting. My professor for that class put a lot of emphasis on "warming up" for the first twenty minutes of class with that time being spent drawing gestures of the model. The model would hold a pose for 30 seconds, 45 seconds, and 1 minute, repeating the cycle with a new pose for each interval. I marveled at the fact that an artist could make a drawing have so much life, with just a few bold strokes. My professor marveled at this too, and when passing by my easel one morning stated "Your mark making is so painterly, I don't understand why you would ever entertain the idea of doing anything else." Naturally, this got my wheels turning. Even now, however, I like to go back to drawing a series of gestures, even if I am not doing figurative work, to keep up the energy and varied mark making.

Yesterday I had the privilege of sitting in on Charlotte Foster's Youth Ballet Class at her dance studio, Atlanta Dance Central. I am showing some of my work at a fundraiser for Atlanta Dance Central, which is to be held at the studio on Friday, August 27th, and thus wanted to get to know the students and have a much needed inspiring drawing session. Naturally, being young and attending their first day of class, these dancers were significantly more mobile than the typical model often seen in a drawing class. The challenge was nice however, pushing me to focus on the big picture and not get caught up in details, or concentrate too much on what I was putting on the paper; just drawing what I saw. I am hoping to turn these sketches into small paintings, to be sold at the show, and treasured by those who work so diligently at another beautiful craft.

EMAIL ME

Attack of the Killer Tomato

'Tomatoes on the Vine", oil on canvas, 3' x 6'

"But I'd never say that I started every painting in the same way at all. It's a sort of patience of trying things out and putting it in and taking it out. And just saying "give it a go." Because it's never the way you conceive it to be at all, and I don't think there's anything wrong in that, but lots of people get disappointed because they think: "I want it to be this." But I think if you keep going it becomes something. You grow every time you do a piece, anyway. You become the person in the painting or the painting changes you and your perception of things anyway. So I don't think there's anything wrong in having a completely different image to the one you set out with in the beginning." -Jenny Saville

The above quote was said by one of my favorite contemporary artists, Jenny Saville. Saville paints large scale (large is hardly the perfect adjective, her paintings are often 10' x 10') figurative work. She explores the human body, often making disturbing images of nudes, often obese, some hermaphrodites, others victims of abuse or disease. These subjects do not sound appealing, but the way she manipulates the paint is incredibly beautiful. Saville's paint application is similar to witnessing a sculpture, with Saville carving out her subjects. Thus, when painting on a large scale I find Saville to not only be an inspiration, but an encouragement. I think the above quote rings true, for when painting on such a scale it is as if you are painting several different pieces, that have to fit seamlessly. Myself being an artist who likes to paint the big picture immediately, I was reminded of Saville's words and tossed my expectations and old processes to the wind, and just "gave it a go."

I began by painting my intended focal point of the piece, and moving across the canvas so that all three subjects would develop a positive conversation.

I then pulled in the background to allow the tomatoes to have even more warmth, applying energetic strokes, but at the same time not allowing them to away from my subjects.

(Ignore the outfit, look at the scale)

Overall, changing up the process, "giving it a go", was refreshing and allowed me to see the big picture even more so than usual. Not to mention, in this case I also feel that bigger is better. If you are interested in "Tomatoes on the Vine" it will be displayed at The Shed at Glenwood (A fabulous Atlanta restaurant with yummy local fare and a killer wine list) along with more of my Fall series.

$1000.00 (+ tax and shipping)

EMAIL ME

Top: "Nectarine", oil on canvas, 16" x 20"
Bottom: "Nectarine" + "Peach 1"

There's no doubt about it, this Summer has been one of record heat. Even when I am tempted to open all of my studio windows to let in the gorgeous Summer day (and some much needed ventilation.. if you need proof, attempt a conversation with me at the end of a long day in the studio) I refrain: it's just too hot. Thus, I find myself painting a cooler palette. Refreshing greens, cerulean blues, and cool, watermelon-friendly crimsons are at the top of the list. The above "Nectarine", is no exception. Cool and refreshing like the fruit, the cropped image is meant to give just enough away to recoginize the subject while the tone of the background is painted to depict one of those hot, bright Summer days; the ones where you find yourself having lunch at Piedmont park and everything seems to be reflected to the point it's white tones are conquering your vision; bright, hot, and only in the heat of Summer.

"Nectarine" is currently available at Urban Cottage in Virginia Highland, Atlanta (http://www.urbancottageatlanta.com/) along with more of my Summer series.

EMAIL ME

Going to the Chapel

"Colette + Alex", oil on canvas, 16" x 20"

"Amy + Grant", charcoal and graphite on canvas, 16" x 16"

Oh, wedding season. One of my favorite things about being in my mid twenties is the over-the-top amount of weddings I attend. While naturally I enjoy the happiness (and love) of the couple and their overall celebration, I am always intrigued by the location of these blessed vows. What made the couple decided on this church (or synagogue, reception hall, hotel, etc.. you get my point here, trying to combine politics + religion is not the easiest task)? Family? Ease of Location? Special meaning to the betrothed? Whether the reasoning is ever revealed or not, the question alone inspires me enough to depict the location in my own way with hope that my gift will continue to inspire the couple.

"Colette + Alex", as I am sure you have guessed, is named after the now married couple. I chose to continue with my usual medium and style along with a bright color palette for this piece simply because it suited the couple the most (I've discussed many times how one of my main goals is to make my work, especially a piece meant for a specific viewer, to truly honor their life and intention. This was no exception). I lucked out with knowing the significance behind this church's location: the bride's family was a part of the parish, and the groom had proposed at the location. Thus, this place was one that glued the couple, and was a place of joy and new life. The couple themselves is also young and very much in love, to the point that you could feel the excitement bouncing off of them on the day of their wedding (Ok, I know this is probably something we would expect from any couple about to marry, but this was particularly picturesque). Therefore, I wanted the piece to capture all of that with color and application; love, excitement, and the beginning a life together.

Now, after saying that, I'm sure the next piece has you thinking, "Is this couple sad?" My intention with "Amy + Grant" (created with charcoal + graphite on canvas) is to make the piece mimic an old photograph, to give the image a timeless, classic appeal. I was attracted to the gorgeous long patterns of the windows, and the gracefulness of the shadows the tree makes over the church. I do not know the intention for the location, but I do know Amy and Grant, a couple who have been together for a decade, and thus seem to have a timeless, graceful, and tender excitement as their wedding approaches. My hope then is to have made this piece a tribute to that feeling, to keep as a timeless momento of the occasion.