Emma Gonzalez. There's really nothing I can say to add to this narrative, except maybe... she is allowing herself to FEEL. Everyone is witnessing her FEELING. Far from being weak, it is extremely powerful. And necessary. And the only way THROUGH. To me, this is as big a deal as everything else that this crazy youth emergence means.
I would like the world to know that I am offering giclée prints. Giclées are inkjet prints using pigmented inks (rather than dye-based inks) for longevity and quality of colour. The scan taken of the original artwork is highly detailed, collecting far more information than is standard for a digital print, and the paper used is archival (acid-free). A good giclée print is practically indistinguishable from the original work.
Some of my giclée prints are 16X20 inches and cost $125.00 each; some are 13X17 inches and cost $100.00 each.
16X20 inch prints at $125.00: Amy Winehouse, Etta James, Beck, Jimi Hendrix, Nick Cave, and Tom Waits.
You can purchase giclée prints here.
Prince died one year ago today. I was shocked and upset for quite some time, surprising myself. I didn't own everything he'd ever released; I didn't know his oeuvre back to front. I knew "Sign of the Times" and "The Black Album" and most of the hits, but that was it. Still, I found myself googling pictures of him and articles about his death, and crying, for weeks.
I've been sitting here for some minutes now trying to think how best to describe what he (and the music of his that I loved) meant to me, but I'm not coming up with anything terribly brilliant (apart from the fact that it was FAR TOO SOON). I'm going to let Michael Chabon, who posted the following on Instagram the day Prince died, do it for me:
"I came of age feeling drawn to the borderlands. I felt like I did not belong anywhere except wherever nobody belonged, and that I could not, would never want to be defined except as someone who instinctively rejected definition. It was exhilarating but it was lonely and confusing. You looked for people who seemed to be walking the tightrope between This and That (or This and Not-This) with grace, confidence, an appearance of fearlessness, a wanton disregard of gravity and physics. Between "high art" and "pop." Between "black" music and "white" music. Between white and black, straight and gay, male and female, cool and nerdy, genre and mainstream, rooted and uprooted, old school and avant-garde, commercial and arty. Between synth-bass minimalism and a shredding Telecaster solo. Between anyplace they stuck you and everywhere you knew you had the right, and the desire, to be.
He surfaced like Aphrodite in a fizz of synth foam with his second album, when he was 21 and I was 16, and at once became my surest guide. Nobody ever walked that tightrope between the Approved Categories with greater heedlessness, verve, aplomb. He wasn't lost, drifting, incapable of choosing. But he also wasn't choosing nothing. He chose never to feel the need to choose. In a culture debilitatingly addicted to labels and categories, Prince gave them all the Slip.
No one else could have felt, understood, expressed so perfectly the quantum state of identity that Prince folded, set to music as tightrope-walking as any he ever recorded, into the lyric: "If I was your girlfriend Would U remember 2 tell me all the things U forgot When I was your man?" When he sung these and all the rest of the lyrics to "If I Was Your Girlfriend" (on Sign O' the Times, his masterpiece of the Slip) he was not just posing a rhetorical or cute question. He had thought about it. He had imagined it. He had wanted it. Being someone's girlfriend was something that on some level he knew he could, maybe even should, do. Or, at least, that no one was ever going to tell him he couldn't." -Michael Chabon, April 21st, 2016.
The week after Prince died, I painted several portraits of him (above). They're all pretty loose; some resemble him more than others. Some I will never show. The ones I'm going to post here are all for sale and will soon be in my store: they 15X21 inches, ink on paper, $600 unframed.
Please feel free to contact me.
Two years ago I was smack-dab in the middle of The 100 Day Project, painting a portrait a day from Marco Anelli's book "Portraits in the Presence of Marina Abramović". Anelli's book is comprised of photos he took of each person who sat before Abramović during her three-month long performance piece at MoMA in 2010- "The Artist is Present". I fell in love with the Anelli's book and decided to use it to participate in The 100 Day Project- something that happens once a year whereby people choose something they're going to do each day (art, poetry, dance- doesn't matter), document it, and post it to social media.
The photos above were taken by Wendy Nesbitt, whose blog you should check out. Sure, why not lay around on the couch and on the floor surrounded by my 100 paintings? Far be it from me to refuse my chance for glory, or "15 minutes of fame", or anything I can get. My millions of followers can attest to what a hype hog I am. (Uh, did I just coin a new term...?)
Hearse is a Victoria, BC band comprised of J. McLaughlin and Grayson Walker, and I get to paint their portrait! They came over for dinner and a photo shoot, and there was revelry. This was not a shock.
The general consensus, from all of the photos that worked out, is that the first photo shown here is the one I should use. Maybe. Maybe. Maybe. Maybe. Maybe. I'm not sure. I haven't had time to test it out yet, and I have other things to clear off my plate before I will get to it.
Check out Hearse!
Their FACEBOOK PAGE.
. . .
I painted Johnny Winter for my brother for Christmas, because I know he loves him, and he's been hinting for a while that he wanted a painting. It turned out to be the only painting I've squeezed out in the last few months, but it was a good'un because it did the trick- my brother was "gobsmacked". I've added Johnny to my series of "Loved Ones", though truth be told I don't love him like my brother does. My brother loves the BLUES, and he loves guitar. And I love my brother, so............ Johnny Winter.
Here's the story. I haven't been able to do artwork for a few months, and I'm trying to get back in the saddle. It's always a bit dicey. I'm rusty, and at the same time I'm determined that I simply must try to do something new and different. (Sigh. Always with the "musts"). I've been posting a lot of my older collage work on Instagram and it got me thinking that I'd like to try to combine my portraits with my collage. I've done lots of painting on collage in the past, but not the portraits per se, and not with black ink dripping and/or spreading-into-the-paper. If you follow me. It was usually very tight line work done with white ink on top of the collage.
So I got started, and I glued some pieces from an old map to the paper I usually use for ink portraits. Then came the question... who do I want to paint? I have a cache of photos of people I want to paint, but none of them felt right. Frankly, I wanted someone with a lot of hair, and I came up with Dolly Parton. She's never been a particular favourite of mine... she just happened to fit the bill. Sorry Dolly.
Yesterday was Day 2 of working on Dolly, and I decided I should just finish the damn thing as I wasn't going to get the results I was after. I thought I would listen to some Dolly Parton on my computer while doing so. I wanted to listen to her bluegrass recordings, but the first thing I came across was a clip where I discovered that Dolly Parton wrote "I Will Always Love You", which I only knew as a Whitney Houston hit. I watched Dolly Parton explain that she had written it for Porter Wagoner when he was being a dick about her leaving his TV show and breaking out on her own, then found a clip of her singing it on his show in 1974. I was surprised! New respect for Dolly!
I then went back to searching for bluegrass recordings, and found a playlist. But you know how youtube playlists can be. It started out with bluegrass, but soon I found myself listening to some seriously melodramatic schlock, and discovered that Dolly has (or developed?) a habit of falling into whispering at pertinent junctures, ie, when she wants to point out that "here is where you should start to cry". And I simply cannot abide by that. I continued to paint for a while, but with loud exclamations of "Oh my God! NO!" For some reason, as an antidote, I switched immediately to Perfume Genius.
What a roller-coaster ride! Respect for Dolly! Disdain for Dolly! Surely the truth lies somewhere in between. And she did help me out with the hair and all.
Over the course of 3 months In 2010, Marina Abramovic staged "The Artist Is Present" at MoMA in NYC- the most widely attended performance art piece in history. She sat in a chair for three months, six days a week, and people lined up to sit in front of her and look into her eyes for as long as they liked. Marco Anelli took photos of each of the participants, and the result was his book "Portraits in the Presence of Marina Abramovic". I bought, and love, that book.
In 2015, participating in "The 100 Day Project", I decided to paint 100 faces from that book- a painting a day for three months. THIS IS THE BOOK I'VE MADE OF THOSE PAINTINGS! I'M PRETTY EXCITED ABOUT IT!
The book will sell for $30 at "A Very Poppet Christmas" at Poppet Creative (1508 Haultain St) from December 16th - 23rd, or any old time if you just let me know. I don't have it listed in the "store" section of this website yet, so if you'd like one please reach me through my "contact" page. There will be books making their way to The Netherlands, New York City, and Toronto, among other somewhat less exciting locales- I'm pretty excited about that, too!