Re-Member [on DR Thursday]

alki cropped copy

a morsel of ‘alki beach’

I was surprised. This was the first painting Horatio pulled from my stacks. It’s an older painting, a piece I’d forgotten.  “I like this one,” he said, and told me why.

Horatio is a great artist so it was a rare treat to rummage around the studio and talk about my work. I don’t often talk about it, not really. When showing paintings, people ask questions and I usually deflect the question back at them. It’s a rule. Artists often get in the way of the relationship between their painting and an observer. I want people to see what they see, not what I think they should see. There is no right answer or any one way of seeing a painting.  That’s the point; they have the power to re-create it for themselves. The magic is on the purity of the relationship. I’m more interested in their re-creation than I am in what I think they should see.

Horatio gave me a great gift. He helped me see ALKI BEACH anew. He helped me remember and in remembering I saw the painting again as if for the first time. It was like meeting an old friend after many years. Since Horatio’s visit I’ve had a chance to chat with ALKI BEACH over coffee. We reminisced about the day, the event that inspired it. I remember how the sun and air felt walking that day so long ago on Alki Beach. I remember sitting in my chair in my studio staring at a blank canvas. I remember the birds, the gulls and crows and eagles. I remember reaching for the charcoal.

I remember my surprise at what emerged on the canvas, the day I stepped back, paint on my face and hands, and saw ALKI BEACH for the first time. I remember thinking, “I like this one.”

 

 

read Kerri’s blog post about ALKI

 

rhode island website box copy

 

alki beach ©️ circa 2009, david robinson

Mix It [on DR Thursday]

palette copy

True confessions: I never clean my palette. I like the messy build up of color. I like the chunky texture. It serves as a gunky history of my work, a genealogy of paintings past. And then, over time, it becomes a tactile work of art in its own right. Unfettered by any of the mental gymnastics or over-ponderous considerations that plague my “real” work, it is the closest to child-mind that I will achieve. It is accidental. It is free.

This might be a stretch but it is, for me, nevertheless true. I love my palette because it is the place of alchemy in my artist process. It is the true liminal space. I begin with pure color. I smashed the pure color together with another color and transform it into a third color, the hue I intend. On a palette, color becomes intention. And then, once transformed, with a brush or knife I lift the color-intention from my palette and in an action that is often more responsive than creative, I place it onto a canvas. It transforms yet again relative to all the color it touches. An image emerges. More color is called for.

And, somewhere in this call and response of color, I become like the palette. The pass-through of alchemy, the door that color passes through en route to something beautiful. And, in the process, perhaps I, too, in my messy build up of life/color, grow closer to that child mind. Unfettered. Accidentally interesting. Free.

“You never know what is enough until you know what is more than enough” ~ William Blake

 

read Kerri’s blog post about my PALETTE

 

roadtrip reading website box copy

 

Horses FullSize copy

untitled, mixed media 48 x 48IN

 

 

 

 

Bring Peace [on DR Thursday]

PAX morsel copy

a morsel of PAX

Coming out of a deep sleep I pass through the flotsam layer at the bottom of consciousness. I call it the ‘garbage layer;’ the place where fears fester and worries lurk. It is the monster layer, the place where Grendel lives. When passing through the garbage layer I’m careful not to hook any of those thought-demons and bring them to the surface with me. Give them light and they will eat your day.

Just as I broke through the garbage layer, feeling the pull of a new day, my eyes not yet open, I was warmed by this thought:

Bring peace to your day and you will experience a bit more peace. Bring joy to your day and you will experience a bit more joy. Bring anxiety to your day and you will experience a bit more anxiety. Bring fear to your day and you will experience a bit more fear. Bring hope to your day and you will experience a bit more hope. What will you bring to this day?

My eyes popped open and I was floating on a raft of hope. A raft of my own choosing. A raft I could share.

This painting is called PAX (the kiss of peace). Like the thought that awaited me above the garbage layer, it is a meditation on the power of what you bring to your day. It is a meditation on the raft you choose to create.

It’s a simplicity. Bring peace. Experience peace. Bring hope to your day. Experience a bit more hope in your day. Share a bit more hope in your life.

 

PAXunframed copy 2

PAX, 24 x 24IN, mixed media

read Kerri’s blog post about PAX

 

slow dance party cropped website box copy

PAX/PAX morsel ©️ 2015/18 david robinson

Distort! [on DR Thursday]

lovers distortion1 copy

Lately, when picking images for the melange, I go into the studio, quick snap a few photos, toss them to Kerri and ask her to choose one. It’s that random. This week, I tipped a stack of canvases, much like you’d open a book, shoved my camera in the ‘open page’ and snapped this photo. A morsel of LOVERS. Also, because the painting was tipped, there is an angle of distortion that I like.

Angle of distortion. I like the phrase. It implies that there might be a viewpoint without distortion. As an artist it doesn’t take long to learn that a point of view – every point of view – is a distortion. Follow people through a gallery displaying your paintings and you quickly discover the varied and surprising nature of perception. A single painting. A multitude of interpretations, few of which have anything to do with the painting you thought you’d painted.

My grandfather used to count the fingers and toes in my paintings. Sometimes there were six toes, sometimes four fingers. It puzzled him. My response, that I live post-Picasso, was of no comfort to him. He was puzzled and delighted by my straying from the standard number. He would knit his brow if I’d have told him that I live post-Michelangelo. Those renaissance artists knew how to distort things and get away with it!

Reality. Normal. I’m no longer sure what those words mean anymore other than “agreement.” A gathering of the distortions at the crossroads to compare notes.  My grandfather would have shaken his head and told me that idea was nuts.  “We live post Einstein,” I’d say, much to his chagrin. What do you see in this painting, deep within the age of relativity? Well, it all depends upon your angle of distortion.

 

lovers - full copy

lovers, 18 x 37.75, acrylic on canvas mounted on hardboard

 

read Kerri’s blog post on LOVERS

 

 

cheers! shopping in chicago website box copy

 

lovers ©️ 2012 david robinson

Hear Yourself Think [on DR Thursday]

painting FOR PEACE I PRAY morsel copy

Ultimately, if you are lucky,  you come to the realization that you are in prayer, in meditation all day every day. What rolls through your noggin each moment of each day is your meditation. It is your prayer. The question is this: what is your meditation?

We need not go to the mountaintop, enter the big stone building, or walk a thousand miles to the sacred site to find it. It’s all a sacred site. There is no class or teacher that can show you the way to understanding your meditation. I learned in my travels that the high priests in Bali are in prayer/meditation all day, every day. Chanting mantras, reciting prayers. Directing their thought. The only difference between the priests and the taxi driver is that the priests know that they are in constant prayer. They understand the creative power of their thoughts.

I love to paint because my rambling river of thought simmers down. I become quiet. I can ‘hear myself think.’ And, from what I hear, my thoughts, are mostly ridiculous fear fantasies. Rabbit chases. Human-made-up-separation-anxiety.

Beyond all the noise and the chanting is the quiet place. That is what this painting, FOR PEACE I PRAY, is about.

ForPeace,IPray copy

a rough shot of the finished piece. it sold before I took an archival shot. in fact, the image on my site was taken before the words were painted in. go see the difference.

sketch

the sketch

 

read Kerri’s blog post about FOR PEACE I PRAY

 

footprints in sunlit snow website box copy

 

 

for peace i pray ©️ 2016 david robinson

Chase Bubbles [on DR Thursday]

morsel copy

a morsel from Chasing Bubbles

“I must have a prodigious amount of mind; it takes me as much as a week, sometimes, to make it up!” ~Mark Twain

Lately, I’ve been hoping that my paintings are really more iconography than autobiography. When I sit and review my pieces I see a festival of introversion and introspection.  Lots of figures looking inward. Or down. It is true that I would have made an excellent hermit. Most of the news of the day seems to me like so much noise. I mean that literally. It’s too loud and drives me in search of quiet places. All of this is to note that my autobiography would most certainly be a snore to read so I worry that my paintings – if autobiographical – put people to sleep.

So. The sweet saving grace, the possibility of symbol. A reference to something bigger. Chasing Bubbles. A few years ago at the farmer’s market I saw a young girl racing after a  huge bubble. She was laughing with delight in the chase and I took a photo thinking, “This would make a great painting.” And, then, I thought (this is a confession)…a great painting of the human condition. We are bubble-chasers all.

This is the point where Kerri routinely tells me to ‘gear down.’ “You think too much!” she gasps, clutching her now-aching noggin. “Why can’t it just be a painting from something you saw!?” Well, that would make it autobiographical. ZZZZZZZZZZZZZZZ.

It’s a dilemma.  And, there I go again, chasing bubbles.

 

 

Bubble Chaser in process copy

Chasing Bubbles (in process). It still has a long way to go. Mixed Media 33 x 48IN

 

read Kerri’s blog post about CHASING BUBBLES

 

not our best morning minturn website box copy

drc website header copy

Chasing Bubbles (in process) ©️ 2019 david robinson

 

Risk The Adventure [on DR Thursday]

without risk close no lines copy

On Monday, I pulled out the Chicken-Marsala-rough-draft folio. I was searching for a rough concept sketch. It was an early-Chicken idea, a joke mostly, but I thought it would be a good choice, an encapsulation of the melange, for our anniversary week. In it, Chicken Marsala is a nascent angel en route to his very first assignment. He is in full resistance. His mentor angel is pushing him forward. She’s trying to convince him to that this first mission is ideal, a cake-walk, but he knows better. It’s a mess. He’s being assigned to an aging couple. Newlyweds. Two artists. Chicken screams, “But they’re BOTH artists!” The mentor-angel responds, “Get in there, tiger! They’re lucky to have you!”

How many times in life, in your moment of resistance, have you heard, “It’ll be good for you.” Translation: what doesn’t kill you will make you stronger. The problem with this bit-of-wisdom is that being killed is one of the options. In the face of hungry tiger, who doesn’t need a push!

I found the sketch of angel-Chicken but got lost looking through the hundreds of drafts and idea sketches in the folio. If you are looking for something to lift your spirits on a cold and bleak winter day, flipping through the Chicken folio is guaranteed to bring some sun and a smile. He became a festival of optimism. He jumps for the joy of jumping.

The  joy of jumping. That is a much better and more accurate encapsulation of the melange. It is not a story of survival or resistance. In fact, at this one year mark, by measures of survival, it makes no sense at all. Our original intention, making a living, has long ago given way to something more essential. We are doing it because we love doing it. We write for the joy of writing. By measures of joy, of vibrant living, nothing else makes sense.

We regularly slip off of rocks and find ourselves sitting in the water. It is the necessary risk for doing what we love. Life rule #1: Have the experience first; make meaning of the experience second. “Risk,” as Chicken has taught us, is just another word for “Play.” Jump. Welcome the adventure. And, see what happens.

anniversary haiku copy

read Kerri’s blog post on RISK & ADVENTURE

risk full version no lines copy

here’s the full panel

drc website header copy

archeswebsitead copy

heart in sand happy valentine's day copy

Make A Mark [on DR Thursday]

see an owl with frame copy

k.dot & d.dot see an owl, mixed media, 24 x 48IN

Every once in a while I paint a chronicle piece, capturing an event from something that happened in our lives. Early in our relationship, sitting in Adirondack chairs in the front yard,  sipping wine, listening  to music, we broke into a spontaneous fit of dancing.  Dancing In The Front Yard was the first of the chronicle paintings.

Picasso said that painting was just another way of keeping a diary. I suppose that makes all of my work or any artist’s work a chronicle. A record. Jackson Pollock’s ‘action paintings’ are considered a record of the artist’s movement, a visual register of the painter’s dance.

I knew a man whose passion in life was rock art. Petroglyphs and pictographs. Human-made markings on stone. He traveled the world to the caves or cliffs – sites – where these ‘records’ are found. We had many conversations about the “why” of it – why people so long ago scratched images in rocks, ground minerals to make pigment and painted walls deep in a dark cave. Ritual or roadmap? Worship or whimsy? Both/and?

A diary? A register? A reaching? A marker? Maybe it is simple: humans make marks. And then give the marks meaning. Or, perhaps more to the point, we make marks and believe the marks give us meaning.

Kerri and I saw an owl in the pine tree in our backyard. It was thrilling. We thought it was a good omen, a gift. We slipped into the house to get the binoculars, careful not to move too fast to scare it away. Later, standing before a blank canvas, all I could think about was the thrill of seeing the owl.

 

read Kerri’s blog post about K.DOT & D.DOT SEE AN OWL

 

drc website header copy

 

chicago river website box copy

 

k.dot & d.dot see an owl ©️ 2015 david robinson

Meditate [on DR Thursday]

mother&childprocessshot copy

It’s a universal theme that I’ve painted over and over throughout my life. Mother and child.  Sometimes the painting is inspired by a dear friend becoming a parent. Sometimes, like this iteration, I look up and find it staring at me from the canvas. When that happens I know I need to follow it.

img_3998I learned when I was a teenager that the act of painting was, for me, a form of meditation. Sometimes the meditation has nothing to do with the image that I am working with. The process becomes an exercise in presence. Sometimes, like this painting, the image has everything to do with the meditation. The image is the meditation.

So. Birth. New life. Possibilities. Life giving. A good meditation for the middle of winter. A good meditation for an artist surrounded by good friends retiring from work, becoming grandparents, asking what is next. A universal theme. A universal symbol.

 

read Kerri’s blog post on MOTHER AND CHILD IN PROCESS

 

hands website box copy

 

drc website header copy

 

mother & child (in process) ©️ 2019 david robinson

Catch it. Release It. [on DR Thursday]

“…no one can tell us because life is not something which can be understood from a book.” ~Krishnamurti, Think On These Things

My sketchbook is part diary, part thought-catch-all, part quote repository, …and part sketchbook. And, sometimes the disparate rivers run together. A thought inspires an image, a sketch and a quote collide. Occasionally, on a day that the muse is sleeping or if I stumble into an experimental mood, I paint one of my collisions. And then, generally,  I paint over it. The point of any experiment, in art as well as science, is to find out what works by discovering what does not work. Trailing behind me is a long line of mud, mess, and poor composition. Much of my finished work is the visible layer of a sedimentary strata of experiments.

Like the rest of humanity, I am a seeker. Seeking is the point of a sketchbook or a diary. Reflection. Capturing. Exploration. Elusive mastery. Fickle contentment. Status. Safety.  Agreement. Peace.

We seek these things as if they were destinations. From my long line of mud and mess I’ve learned (and continue to learn) that none of what we seek is achievable. Seeking implies finding but that is a misnomer.  Life moves. Meaning is fluid. There may be answers for a moment but they will, as they must, open greater questions. Or, they will be a borrowed answer, a truth found in a book, lived by the author, celebrated and shared but unincorporated in the reader.

img_3997It is a bird that you hold for a moment. A relationship with something wild. A relationship with yourself. The meaning flutters in your hands, opens you to an experience, and then will die if not released.

A sketchbook, this painting, No One Can Tell Us, is merely a trace left by that fluttering relationship. The top layer.

 

 

 

read Kerri’s blog post on NO ONE CAN TELL US

 

snowpath in bristolwoods website box copy

no one can tell us ©️ 2015 david robinson