I find myself wondering if I should start painting traditional still life subjects, like fruit, because these clocks are complicated.
Here are two recent paintings shown framed and ready for the gallery wall. I have been represented by the George Billis Gallery in Los Angeles for just over a decade now and have had enough exhibitions with them for the number of paintings and times I’ve been there to become a blur.
I can remember the dream of having a gallery show my work in Los Angeles. I worked hard enough, and it came true.
Shown here are two paintings — The Interpretation of Dreams and 10:10, No.9 — which will be installed at the gallery on February 26 and showing through April 2, 2022.
Recently, an art consultant asked his numerous artist followers on social media why they think some artists succeed and others do not. Hundreds of answers poured in, and as I scrolled through them, one thing became so apparent; artists suffer from severe status anxiety.
Trophy / 16 x 12 inches / oil on canvas / 2021 / framed
There is an intense amount of competition in the art world. But to succeed, according to many, means that you have been blessed in all ways except the actual art-making. Apparently, one must possess many or all of specific characteristics such as; a naturally charismatic personality, very wealthy parents, easy access to top universities where your sex appeal and persuasion garnered you top grades and attention, to have been born in Manhattan and live there rent-free, etc., etc. You get the picture.
The consultant kept responding by asking these jaded artists the same question over and over; “what about the art? doesn’t the art they make have anything to do with their success?”
1st, 2nd, 3rd / 16 x 20 inches / oil on canvas / 2021 / framed
I think it is only natural to have these competition struggles, but I was surprised at how superficial and odd it seemed once you can see so many brief and desperate answers all in one place, like looking at the data from a survey. It was a reality check — no need to wallow in self-pity and jealousy. That is your biggest setback.
The art one makes is the most important thing. It is its own reward.
Over the centuries, still-life and object painting have always done more than depict something as it is. The subjects in the images can tell a story, represent an idea and be used as symbols.
Still & Moving / 16 x 20 inches / oil on canvas / 2021 / on the easel
As I hunt around for objects to add to my collection, I always make sure that they somehow fit into the narrative I am pursuing in my overall work. For example, in the painting “Still & Moving,” I have a still camera and an 8mm film camera — one takes still images, the other moving. Anyone who has been using social media for the last decade knows that the advances in cameras have shifted us from still images to videos. Instagram, an app that initially was about sharing photos of what you were doing at the moment, used heavy filters to “age” the images and make them appear aged and somehow “authentic.” But now, here we are, with Instagram becoming all about the moving pictures. We have entered the phase of brief and trivial videos that one can sit and view for eternity.
Near & Far / 16 x 20 inches / oil on canvas / 2021 / on the easel
As someone who has used social media in all its forms over the last 20 years, I have often wondered if I will eventually be left out as I feel no need to move on to the next iteration. You are reading this on my blog that I have published since 2007 — an ancient medium as far as many would be concerned.
I draw inspiration from my work from centuries ago (see the last post), so I have a bit of a “long view” of what I am doing with my work. Focusing on the minutiae of now isn’t my game.
These two paintings will be part of my upcoming exhibition at the George Billis Gallery in Los Angeles.
After several months of steady work, I have completed 22 new paintings that I have started shipping to the George Billis Gallery in Los Angeles for my upcoming solo exhibition that goes up on February 26 and runs through March 26. So you’ll be reading and seeing plenty from me now that the hard work is done.
Books & Colored Pencils / 24 x 36 inches / oil on canvas / 2021 / on the easel
I have been painting still life for over twenty years now. So much of what I do is honestly about making a balanced, crisp, clean composition of objects to entice the simple act of observation. I use the opportunity to paint to make something delightful and pleasing. Not only for myself but for other people to enjoy as well. I have always drawn my inspiration from the long-established still-life painting tradition, which was first introduced in the form we know today by the French painter Jean-Baptiste-Siméon Chardin in the 18th century.
The Attributes of the Arts and the Rewards Which Are Accorded Them / by Jean-Baptiste-Siméon Chardin / oil on canvas / 1776
I could take a deep dive into the significance of Charin’s paintings to the world we live in, not just in art, but in all things, but I’ll spare you for now.
Instead, I want to show how I draw inspiration and remix the visuals he introduced centuries ago. His painting depicts “the attributes of the arts” — his palette and brushes on top of a box of paints, a plaster cast used to practice drawing, books with instructions and inspiration, and an award given to him for his accomplishments.
In my work, I use the propped books as Chardin did, but I have pencil crayons. Specifically, they are Laurentien pencil crayons which are an iconic part of a Canadian child’s early school experience. These were my introduction to the possibilities of art-making. My work is high-key (bright and airy) compared to the dark and shadowed Chardin visual world.
Books & Colored Pencils + Trophy / framed and ready to go
And here is the painting, varnished, framed and ready to ship to Los Angeles. Shown here along with another smaller painting (Trophy / 16 x 12 inches / oil on canvas / 2021) which is my nod to the rewarding life that painting has given me.
Here is a glimpse at another recently finished painting — one of several for my upcoming solo exhibition in Los Angeles. The show will run from February 26 – March 26, 2022, at the George Billis Gallery LA.
My last exhibition in Los Angeles was at the same time of year in 2020. All this time and careful planning went into preparing for the show, and within a few weeks, the world entered its first global lock-down experience. The gallery doors were shut, and the paintings hung quietly by themselves without anyone seeing them.
What will 2022 bring? It’s anyone’s guess.
Telephone Receiver / 16 x 12 inches / oil on canvas / 2021
After a few decades of collecting objects and trinkets used as subjects for paintings, one ends up with shelves full of things that never made the cut. I was talking about this with my daughter, and I asked if there was one thing I should paint that I never have, what it would be. She immediately told me to paint these two wind-up toys I’ve had for years and years.
Here’s a glimpse of them just finished on the easel.
Wind-Up Rabbit / 16 x 12 inches / oil on canvas / 2021 / on the easel
These wind-up rabbit and bird toys have waited patiently while all the clocks and telephones get painted repeatedly. I’m sharing these here on my blog long before sharing them on any social media. They’ll be part of my upcoming solo exhibition in Los Angeles in late February 2022.
Wind-Up Bird / 16 x 12 inches / oil on canvas / 2021 / on the easel
I’m so pleased to announce that my 2022 calendar has been published by Itoya and sold exclusively in Itoya’s stores in Japan. The designers in Japan do a fantastic job making this large, sturdy calendar. It is an honour to work with them.
If you are outside of Japan, try using tenso.com to import the calendar. You can find the calendar on the Itoya website here.
I have eight paintings in my studio that I have not shared yet. Here is one that I just put the finishing touch on. I am focused on working toward my upcoming February 2022 exhibition in Los Angeles. It’s just easier to spend my time painting to forget about taking photos of the progress and constantly being tied to social media.
Rotary Telephone and HB Pencil / 12 x 16 inches / oil on canvas / on the easel / 2021
This was a bit of a battle to complete, but I’m pleased with the outcome.
The next several months will be painting for an upcoming solo exhibition in Los Angeles. I have been exhibiting my work in galleries for twelve years now, and every time, the gear up and anticipation for making a large body of work always feels the same — I fluctuate between being kind of nervous and kind of excited.
5¢ / 48 x 36 inches / oil on canvas / on the easel / 2021
I’m calling this my Time Travel series. Usually, I take a day to set the clocks to the same time, but for this one, I wanted the random order that the clocks were at when I set them up on the little blue suitcase.
Eight Blue Clocks / 24 x 30 inches / oil on canvas / on the easel
