I’m calling this The Lindstrom Chair. It belonged to my wife’s Great Grandfather Lindstrom and we are lucky to have it in our possession. It’s a great piece of furniture, sturdy and made to last. The painting just completed its journey across the continent and is now at the George Billis Gallery in New York City.
It’s a large painting, with a strong presence. This chair with books has been used a few times over the years, but never have I had a composition like this included in any of the five exhibitions I’ve had in New York.
I have now been shipping paintings all over the world for just over 16 years. Hundreds and hundreds of paintings handed over to various courier services. And every time I still get anxious while they are in transit.
I spend most of my time in the studio working inch by inch across the canvas, adding layers of paint to several paintings that surround me. Of course, I take breaks — I step away from the easel countless times throughout the day. There can be difficult passages and frustrating details to work out on a painting, and I know that a few minutes away from the canvas can be a quick reset. But there’s a trap door that is easy to fall through, and like everyone, I find myself taking a wrong step, during these quick breaks I pick up my phone and down I go into whatever app steals my attention and steals my time.
I recently deleted all the apps on my phone that lure me away with their alerts. The irony, of course, is that I do have to sit myself down in front of my computer in order to share these images with you. The trick is to not get tangled in the weeds of social media or the news, or the horrid hybrid of social-media-news that we now have to live with.
I picked up a well-used old copy of The Lord of the Rings and that’s where you’ll find me when I’m not painting, or doing the other work related to my painting such as packaging these up to ship to the framers in New York City before they’re delivered to the George Billis Gallery.
Almost always I work on two paintings in tandem and they have a conversation of sorts.
These two paintings illustrate this in the most obvious way. The dishevelled books in the first painting make me feel tense, scattered and hectic. The second painting is calm, organized and relaxed. States of being.
I found this chair a few years ago at Everything Old — an amazing antique shop on Vancouver Island. It was white and obviously sat in a shed or garage for a few decades. I cleaned it up and painted it black — the simple and basic design has set a perfect contrast against the wall, the varied golden pages of the books pop out.
I haven’t painted or drawn figuratively since my student days. I took to painting objects and still life and rolled with it for many years.
Perhaps one day I’ll return to painting people, but for now chairs are as close as I get.
Chairs suggest a figure. Their design suggest a purpose, a form, femininity or masculinity. They have a definite silhouette which is important in my paintings. They give a sense of space, an interior. You can imagine a person, perhaps even yourself, in the space of the chair.
After hosting visiting family for summer adventures, I’ve been enjoying quiet time in the studio and focussing on getting paintings complete. These will be part of my October 13 – November 14 exhibition in New York.
Sometimes I get so hung up on social media that I forget that my real goal is to make paintings, not constantly share in the river of images.