No Strings Attached

After I posted this piece I decided to try and unify the surface by lightening the background and darkening the relief areas. It is subtle but I think I like it better. I would be interested in other artists opinions. What do you think?

“No Strings Attached” 38”x 31” polished cement & dry pigment on panel

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I have decided to stick with very little color in this piece because I am concentrating on creating a relief surface. Texture was a very strong element in my early cement pieces. Surface has always been important to me, so I have made an active decision to again emphasize texture but combine it with the polished surfaces of my more recent work. I think in my next image I might introduce more color and see where that takes me.

Ecole

"Ecole" 38"x 31" polished cement & dry pigment on panel

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Here, I am trying to free myself from the constraints of formalized design and concentrate on organizing chaos. I eliminated most of the color from the equation in order to allow me to concentrate on content and its arrangement. I am relying on my innate sensibilities to make the image feel right. I try to let it flow without much intellectualizing.

Ecotone

"Ecotone" 31"x 38" polished cement & dry pigment on panel

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In this piece, I decided to calm it down a bit and play with a large simplified area that depended on subtle color transitions and small bits of texture for interest. My work has taught me a lot recently. I just needed to learn to pay attention. I had to recognize myself in my work and play to that realization. Half of the joy of creating authentic work is getting to sit in front of the finished piece with a cup of coffee and let it speak to you. Ahhh, good to the last drop.

Hard About

"Hard About" 23"x 22" polished cement & dry pigment on panel

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I am still iced in my studio. Thank God my studio is in my home. I started this painting yesterday afternoon and finished it late today. I feel pretty good about it. Sometimes that changes after I have lived with it a few days. This was one of those pieces that almost got scrapped. I gave up on it and with nothing to lose, just started pushing pigment around with a wet paper towel. I forced myself to stop periodically and survey the damage. It is very easy to take things too far and end up with mud. All of the sudden it started to work! This painting definitely took a change of direction halfway through. Thus the title.

Iced In!

"Morelos" 21"x 31" polished cement &dry pigment on panel

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It is suppose to get down to 8 degrees tonight. We are having rolling power outages to conserve energy. I don't know how much good that does, because when the power is on, everybody runs the heat full blast before the power shuts down again. Anyway, I am thankful my studio stays pretty warm. My car can't make it up my inclined driveway because of the ice. It's just as well, I really don't need to be on the streets. The good news is, I have plenty of time to work. The above piece was started yesterday and finished today. I plan on starting another this afternoon.

How did I decide to create my art using cement?

"Slocum" 20.5"x 25" polished cement & dry pigment on panel

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I have been asked how I got started using cement to make my art. In actuality, I didn't choose to work in cement, I think it is closer to the truth that it chose me.

I have worked in almost all traditional media at one time or another. I experimented with many different techniques and styles over the years, from photo realism to abstract expressionism. I have the skills to paint any way I desire. I have decided to work non objectively, not out of necessity but out of need. It is important that imagery not get in the way of the authenticity of my work. When I worked in traditional media, even abstractly, I sometimes found that a direction I had taken started to feel familiar. Often I would realize that I was being overly influenced by another artist. Subconsciously I was making decisions based on what I liked in another persons work. It got to the point that I couldn't trust the validity of my motives and decisions.

In 2000 I was working on the construction of my home in Cedar Hill, Texas. There were many masonry task that need to be done, pouring slabs, laying tile, finishing sidewalks and driveways. As I worked, I noticed how good cement felt, how versatile it was. It began to speak me. It revealed to me textures, colors and surfaces that I had never seen before! My brain began to whirl with all the many applications this new medium could foster in my work. It was like wiping the slate clean, nothing felt familiar, no influences to avoid. My art became an exciting adventure where I could experiment, break new ground and trust my instincts once again.

Kachina

"Kachina" 32.25"x 21.5" polished cement and dry pigments on panel

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As I worked on this piece, I was aware of the effects of the culmination of my last few paintings. Lessons learned through reaching into unknown territory. It was a calming sensation that settled into the feeling that everything was falling into place. I was reading Jeane Myers blog today and she spoke very eloquently of the value of consistency. It is always amazing to me when I find that other artist experience many of the same feelings and and situations that I go through. She put her finger on what I was feeling. My past work is a foundation that allows me to build and grow, to produce one satisfying piece after another. Yes it is true, some are better than others but my total failures are becoming less frequent and farther apart. Ah-h-h-h, I can relax and watch a little TV tonight!

the Clandestine Intervention of Sumatra

"The Clandestine Intervention of Sumatra" 41.5"x 31.5"

polished cement & dry pigment on panel

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In this piece I experimented with embedding pieces of failed art that had been broken up and saved as scrap. I guess it is technically an assemblage even though it is comprised of my own work. I found that if I sealed the pieces down using petroleum jelly, the pigmented cement did not flow under them and their edges remained defined. This open up a lot of new and exciting possibilities.

Nineveh

"Nineveh" 27"x 24" polished cement and dry pigment on panel

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I am working this year with renewed passion. I spent almost all of 2010 completing construction on my studio and gallery space. There is a huge gaping whole in my blog! Not much of the art I created during that time survived. My concentration was too divided and frankly, my surroundings were so chaotic and disorganized that finding an open space to work was difficult. But at last the dust has settled and I finally have an organized pristine working environment. I have vowed to try and keep it that way. I like being able to reach for a brush or scraper and actually find one. I am able to walk around the studio without tripping over debris or stepping in wet paint. This makes it much easier to immerse myself in the creative process without fear of bodily injury.

Abernathy

"Abernathy " 18"x 19" polished cement and dry pigment on panel

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I filmed the process of this small piece. It is interesting to look back on it's creation and relive it's development. I wonder how much influence the physical act of filming had on the art. It certainly had the affect of slowing the work, as I had to start and stop the camera or move it's location, but did the self consciousness the camera imposed, alter the outcome of the work? It was hard to ignore it's presence and remain focused on the task at hand. I am sure that decisions I made during the process were altered or affected. But is that necessarily a bad thing? All art is influenced by physical conditions that are taking place during it's creation. A disturbing phone call, stopping to have lunch or answer the call of nature. These influences are all ingredients of authentic art. They make it real and honest.