The series of watercolors I am working on at present are direct influences of my sculptures created in wood, They are, non-objective abstract forms representing, continuous mass in the freedom of line and movement throughout their organic shapes.
I've enjoyed working in watercolors since my mid-teens when I studied nights at a special art class for a short period. I was drawn to its fast pace, be quick kind of urgency and I still find it exciting, even today. It's demanding and constant attention as one must stay on top of it and keep control over this beautiful medium, well named, watercolors.
I have developed a sense of persistence in my working methods, habits, and philosophy, more explicitly, and generally, in the ways, I create art in both, my studio and my foundry. Once I have a clear idea of just what I want to create, my natural procedure is to work fast and this is true with practically every medium of how I approach all my projects. When we have a clear idea of what it is we want and understand our materials and how our tools function, we should be able to jump right in and get what it is we want, accomplished.
When I was in my early twenties I learned, for myself, that artists should never talk about what they are going to create next and or in the future.
That idea never sit right with me. I feel once we talk about it, we seldom really do it. We should not waste precious energy talking about what we are going to create, but rather do it, just create it and let the work show what you've done with that time. You learn so much from what you've done, the things you created are alive and speak for you as an artist.
Another thing I discovered when I first decided to get back into my art, was how to support myself until my art began to sell well enough to support me. When you work another job unrelated to you art. Always make that other job second to your art. When you fist awake in the mornings, that is when the best time to create your art, because it is when your energy is at it's highest. Give the other job what energy you have leftover, because it should never be as demanding as your art.
I have developed a sense of persistence in my working methods, habits, and philosophy, more explicitly, and generally, in the ways, I create art in both, my studio and my foundry. Once I have a clear idea of just what I want to create, my natural procedure is to work fast and this is true with practically every medium of how I approach all my projects. When we have a clear idea of what it is we want and understand our materials and how our tools function, we should be able to jump right in and get what it is we want, accomplished.
When I was in my early twenties I learned, for myself, that artists should never talk about what they are going to create next and or in the future.
That idea never sit right with me. I feel once we talk about it, we seldom really do it. We should not waste precious energy talking about what we are going to create, but rather do it, just create it and let the work show what you've done with that time. You learn so much from what you've done, the things you created are alive and speak for you as an artist.
Another thing I discovered when I first decided to get back into my art, was how to support myself until my art began to sell well enough to support me. When you work another job unrelated to you art. Always make that other job second to your art. When you fist awake in the mornings, that is when the best time to create your art, because it is when your energy is at it's highest. Give the other job what energy you have leftover, because it should never be as demanding as your art.
Tree Of Life. Olive Wood, Jade, and Bronze. 1985-2012 . This work was 27 years in the making. As I've mentioned earlier, if I run into a problem with a sculpture or painting, drawing, whatever. I do not become overly concerned about it. I simply move on to another project. The reason for this long period is due to the fact that I could never decide how it should look in the final presentation. As in many instances, I happened upon
by accident. It is finished with 1,000 grit sandpaper, five coats of fine wood oil, and polished with three coats of Renaissance wax.
This small pen and ink watercolor dates around 2008 as a
drawing and finished in watercolors in 2014. It is framed
in a gold antique style under and dark heavy raw silk matting.
This work I did early on in this series. Date around mid-2013
Burrel wood, frame and heavy raw silk mat.
Here are Triptych l, ll and lll along with Diptych l as my first attempts in this series using one of my favorite handmade, rough watercolor paper. I was so pleased with the results, I purchased as much of the paper as I could stock up with. I can not wait to continued these concepts with this series.
'Under A Japanese Sun' Watercolor on drawing the paper. Art Work Size 18 X 24 inches.
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