Without checking, I’m pretty sure that the last time I was here typing was a year ago, when I had a show at The Goodfoot. I wrote entries throughout my process of painting for that show. I’m here again, because it’s that time. Thursday Feb 26 is the opening for a 4 artist group show and I will be one of the featured creators. I’ve always loved showing at The Goodfoot and it’s been a key element in my last decade as an artist. For me, it exists as an environment and community, more than just a structure that has cool art shows, pool, pinball, craft beers, music concerts and amazing chicken strips. I wish that I’d been more consistant in my blogging entries, because there have been a lot of great shows happening there, and at other venues, that I experienced during 2014. But…I didn’t, so here we are starting fresh…sort of.
Here’s something new: I made a website for the series of volcanoes from last year (There will be more). This year, I finished 26 new pieces for The Goodfoot show. I put the final touches on them on my birthday, which was on Monday. It was a satisfying day.
That’s what the content is for my series that is opening at The Goodfoot. It’s really and extension of my inspiration from classic Japanese woodblock prints. I wanted to do more samurai last year and just didn’t have enough time. It’s all part of a bigger picture that I’ll get into later. For now, I’ll just start sharing some images.
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.
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.
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:
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.
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…