Julian's Lines, acrylic, paper, pencil and ink on canvas, 2008. This is a small painting, I think about 5x5 inches. I will admit that I made it pretty quickly the morning that I took all the paintings to the gallery to be submitted. But I think it turned out fairly well in spite of that. (It ended up selling to a local Somerville artist, Bill Turville, famous for his fish car).
The painting is a still life of objects from my work space, pot full of pencils and brushes, can of turpenoide, etc. This is one of the few still lifes that I have done recently, and is also based on direct observation without layers of abstraction between the object and the final product. It is titled Julian's Lines, after Julian Hatton, a New York artist whose work I look at a lot. He uses lines in a really interesting way in combination with blocks of color so I thought it appropriate to reference him in the title.
2 comments:
Dear Blake:
Bill and you are correct: this is a particularly nice piece. Fine in color and composition, it has a natural, easy feel of being just right. Nice work.
Scarlatti Scarcrow
Dear Blake:
To continue, this piece echoes both your earlier semi-representative work as well as, in its formal values, your present abstractions. It's clearly representative --- but, aside from the brushpot, which looks more like an inkpot (with ink flowing out as indicative of the missing brushes and pens; although that's too cute), of the things you mention from your studio, none are here. You have an air of representation without ---representation. A subtle accomplishment.
SS
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