I’m running an annual sale starting tomorrow 12/7/15. 20% off everything in my etsy store. This includes smaller letterpress prints AND large giclée prints of the These Decisions Can Wait series. Inventory is low so THIS IS THE TIME TO BUY!
So glad to be part of this show at Mingo Gallery in Beverly, MA. Just dropped off the prints for this group show running 12/7/15 to 1/5/16. The show is cash and carry and there will be a rotation of each artist’s work throughout the show. I’ve included all of my loose letterpress prints and about seven framed prints. Below you’ll see a new letterpress edition, called Magic Chase that will be for sale. The opening reception is Dec. 12 from 6-9. Hope to see you there!
This week I’m being featured in the Smudge Ink blog. I’ve been a letterpress printer at Smudge Ink for about two years. Smudge Ink is a letterpress stationery and gift company in Charlestown, MA. Their blog occasionally highlights the various creative people working for the business. Please follow the link to read about my creative process and current work.
I’m very happy to announce my new letterpress series, I’m Not Here will be hanging at Aviary in Jamaica Plain, MA until June 28th. This new series is based on a poem I wrote about being in love and generally uncertain of reality. Zoárd Wells Tyeklár and I are excited to be sharing this space. This is a great chance to check out his drawings and prints as well. I am in the process of adding this new work to my gallery here and will also post about more elaborately about it soon. Please stop by to see it at Aviary, 48 South St, Jamaica Plain, MA 02130.
I have four prints up at Fair Folks and a Goat in Manhattan. Their hanging coincides with the unveiling of their newly expanded store and garden located in the East Village. Please stop by for excellent design, coffee, a new garden (right in time for beautiful weather) and to take a look at my prints. The launch party for the space is this Saturday from 5-7pm. Please join us!
330 East 11th St. New York, NY, 10003
Yours in the spring time,
The complete These Decisions Can Wait series is going on display at Sonelab, a recording studio in western MA this weekend. They’ll be in group show celebrating the 9th anniversary of the art and literary magazine Meat for Tea. I’m excited to participate in this show with artists, Kim Carlino and Roger Clark Miller. Miller, former Mission of Burma guitarist, will also be performing with his group Trinary System. Works will be up until mid April so if you can’t make this event, stop by for a look soon.
The opening begins at 7:30, March 14th. Sonelab is located at 142 Pleasant St, Easthampton, MA, 01027. See the event on Facebook here.
Yours in last minute assembling,
I visited Lake Winnipesaukee in New Hampshire last weekend and made my first snow drawing on the lake. The drawing starts 200 ft from the shoreline and is about 300 ft edge to edge. It took a little over an hour to complete.
The annual ice fishing derby was being held on the other side of the lake. I imagined all the ways it could be impacted by its environment: an added ice fishing hut, some snow mobile tracks, wind erosion, melt, animal tracks. A few hours later the drawing was completely obscured by a snow storm; it was consumed by itself in the end. I now think of this drawing as a homage to the environmental artist, Andy Goldsworthy whose work contains themes of time and impermanence.
My role with the drawing changed from being the creator to the spectator. When I finished, it was out of my hands and became a fixture in an environment, vulnerable to the life around it. It might’ve even had its own impact on life at the lake.
I’m brainstorming new locations to try out some more “live art”. I need space, time and a high vantage point. Stay tuned for the next installation.
Yours in flux,
These Decisions Can Wait #1
I was working on These Decisions Can Wait #1 when the Boston Marathon bombing occured. I abruptly ended the line and left to watch the news.
I hesitate to write this post, as I don’t want to imply that this drawing is about the bombing. I think of it as containing an obscure acknowledgement of the event. Without minimizing the tragedy of that day, I prefer to use its relationship with my drawing to talk about time as a concept in art.
When I went back to work on the drawing the next day there was a reminder of precisely (to the point) where I was and what I was thinking when the bombs went off. I decided not to resume the line where I left off. I left a blank section as a quiet high water mark of the event.
Time ends up being an accidental concept. The lines in the drawing can be visual representations of a linear movement of time. The disruption in the line highlights the discontinuity of time. The left of the drawing happened before, the right side after. The break in the line that separates these sections is the point where many peoples’ realities synched. The event transcends peoples’ proximity and is an experience that people share because we were together in experiencing that event, not physically but when it happened.
TDCW #1 detail
Without meaning or representation, I intend for these drawings to exist outside of a specific time or context. Despite my intent, this one shows that it’s still impacted by outside events occuring during its creation. I realize that the fluid and organic process of creating them makes a drawn line not only vulnerable to my hand but also to a terrible event. It’s interesting reevaluating a piece and seeing its interaction with life rather than as a detached object. I remain alert to seeing what events (hopefully less dreaded than an act of terror) these drawings can discreetly contain in the future.
Yours in the event horizon,
Robert Robinson’s Connecticut River LP has just been released by Feeding Tube Records. I’m proud to have provided the sleeve and insert design. Loving this record. Check out the music video for the track Ziti.
Yours in the Connecticut River,
This is a post about process. I started the These Decisions Can Wait drawing series as a solution to the panic that sets in when you sit down to make something. When will the idea hit? How will I represent it? What if I screw it up? How will I screw it up?
My goal was to make spontaneous and abstract images. A drawing stripped down to formal elements is one that makes fewer demands. The simplified goal allowed space to concentrate on what was being created in the moment rather than a concept.
The process came about pretty organically. I drew a line and then the next one followed the previous, wavers and all, and so forth. These densely packed lines ended up creating an illusion of form.
For the most part, these drawings are unplanned, except for in some cases a predetermined shape over or within the lines. I think of them as having a quality between man-made and machine manufactured. The lines are mass-produced with the same repeated motion, although imperfectly by a human. Imperfection is what makes them dynamic what I find compelling about creating them. To some extent, drawing the lines is mindless and meditative, but I find that some focus allows me to subtly influence the line. The product aside, I value making these drawings to occupy the state of balanced control and disorder that they come from.
I hope that this explanation offers some more dimension in how one connects with my drawings.
Yours in (not too much) mindful methodology,