Welcome To Cascadia: Collaborations.
My first two shows at the Goodfoot, were 2004 and 2005. Natalie Oswald and I worked together to create series of collaborations that we did in a improvised style, working on them at the same time, passing pieces back and forth. Some great work came out of it and I learned a lot each time, lessons that I apply to my solo work as well. Some concepts are Non-attachment to the outcome or the object, being open to new techniques, learning from others and being willing to share ideas and techniques because it only progresses a style/movement/scene.
This series has four collaborations so far. Natalie painted/printed the background for the “Glow Koi” piece. It has some neat gold iridescent effect on top of the fish print. I finished one piece and here is a detail of a second piece that she started, same as the one I finished.
Detail, Natalie Oswald koi block print (became background for “Glow Koi”)
I like working with artists that I know will bring their best effort and do something rad even if it’s not what I expect. For this series, I had requests as to what I wanted them to add, but was open to however they wanted to do it. Heather DeWitt does some super cool miniature scenes, so I asked her for a forest to put on a shelf in the foreground of my first volcano painting. She made a partially burned treeline and we co-painted the ground and trees.
“Welcome To Cascadia”, Collaboration with Heather DeWitt, 36×24 inches
Detail, Collaborative forest, With Heather DeWitt
For years, I’ve loved the cranes and herons that Heidi Elise Wirz paints and draws. I saw a crane that she did for the Brink show here in Portland, so asked if she’s do a version of my heron piece. I gave her the same background scene that I’d worked with and she did this:
“Fire Crane” 18×24 inches, with Heidi Elise Wirz
Detail, Fire Crane, I love that she took the sci-fi element to a new level with the mutant version of the crane! Lots of linework and stippling!
I had a few ideas for Jonny Luczycki, but with the show approaching we settled on a samurai. The samurai is an element that worked its way in because of the Japanese print influence. Now it’s part of the narrative in this future world. Why samurai? I like the idea that it’s a return to old ways. It makes sense to me that in the potential destruction of cities, collapse of the technology grid, etc. that the bad asses would return to a simple and noble code.
“The Way”, 18×24 inches, with Jonny Luczycki
Detail, The Way, I like the painterly style on top of the graphic background. It’s good balance. It’s satisfying for me to see the same palette in two approaches.
I plan to add more collaborations to this series. There are other collaborations that are not part of this series and those will probably show up here at another time…
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