A Proof for Jim

As I run  proofs of a new plate I have just finished cutting, I am reminded of the man who taught me all I know ( or remember) about printmaking, Jim Machacek, who recently retired from teaching printmaking at San Diego community colleges for thirty years. I find myself fastidiously looking for errant marks, unnecessary details and the quality of the inking. I can hear him griping out loud to the class “TOO much ink!”- too much ink makes a muddy print and was the bane of his teaching career apparently. But as I run my fifth proof, nearing the end of the editing (I think), I’m deeply grateful for the rigor Jim instilled in me.

This proof, for a new print The Proposition is for Jim’s approval.

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 The Proposition

 2015

relief print on paper

10 by 14 inhes

This has been a tricky composition for me, layering the figures, adding shadows in two colors but I am going in the direction I had  hoped for. I initially thought of employing a separate plate for the shadows but after looking at German Expressionist prints I was inspired to more fully utilize the drama of black and white. I may still make separate color plates for contrast color but I’m pleased with this print. I’m glad I have Jim in the back of my mind guiding my cuts.

Thanks Jim.

IMG_7386My teacher and friend Jim Machacek taken at LACMA this week, in front of Noah Purifoy’s The Spaceman. I’m happy Jim drove up from San Diego, battling insufferable traffic, to visit me; I’m hoping to see him soon once again on his turf.

Back at the Press

  Since having my press dropped during my recent studio move I have psychologically avoided it and print making in general . Not too long ago John Greco from Josephine Press in Santa Monica ( John is not  a relation but a talented artist and excellent fellow) made a visit to my studio. After tinkering and calibrating he determined that aside from some superficial dings , she was ready for business .

 The following are the my first stabs at relief printing , it is amazing how rusty one feels in just the shortest amount of time . The two following prints are quick little cuts:

    Moonscape

Relief print on paper

9 by 12 inches , series of four artist’s proofs

  ID-iot

Relief print on paper

9 by 12 inches , series of six

The above print , “ID-iot”, was inspired as is so often the case by an absent minded doodle that happened to tickle me. I work fast to capture the  spontaneity of the  original .

   I was eager to fiddle about with lesser prints  because I am about to start a more complicated composition  and wanted to feel a little more confident before I put knife to Lino. It is going to be multiple plates, I’ll post when completed.

  Peaceful day at the studio, added sweetness as my Rose is my studio mate today. She had an appointment at the vet and tagged along afterwards . She loves the one on one attention and I love having her here.

  

Further Shadow Play

  Thought this too surreal an image not share, all in my pursuit of shadowy composition . Yesterday was a frustrating day (let’s just say home ownership taxes studio time) but when I did finally make it to my cell I was productive . Sadly I am here at the Little  Hermitage until new pipes replace ancient plumbing worthy of the Romans; not what I had planned. I will draw and be at home with the beasties today but I am eager to return to make more progress now that I have some inkling as to where I want to go. The use of mannequins is not new , Poussin I think, fashioned little figures as did some  Renaissance painters, but it all seems so fresh and exhilarating to me.
  

In Pursuit of the Shadows…

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In my desire to improve my paintings I am trying to make more effective use of shadow. I am hoping to  create convincing space while preserving that sense of otherness. I am still digesting the feedback from PAFA (not to mention my friend, the artist Judithe Hernandez) , namely the uniformity of light and lack of obvious shadow in much of my work. I have defended this in the past as some tribute to early Renaissance paintings, and there is truth to that, but it is also true that  I really just do not understand shadows that much.

To remedy that I have constructed a cardboard mock-up of the painting I am working on.

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Obviously I would need quite a large cardboard box ( and many more mannequins ) to get a truly accurate sense of space and light, but editing the image into in monochrome has clarified things quite a bit. I have also translated the image of the painting into black and white (thank you Judithe!) and that should be enormously helpful as a roadmap; already I see area I would like to heighten and diminish.

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I will fiddle around  some more but feel I have a better inkling of where to go. Kind of.

Just another twist in this journey of self discovery, it is often very humbling how little I know…

The Procastination Comes to an End

  With my new studio finally set up , I haven’t any more excuses to not get back to work. I have filled my days with organizing and seeking order out of what was mad chaos . I think I have pushed the chaos back and now must face the most frightful demons , my fears that I won’t get back in the groove. 
Taking a deep breath and beginning one brush stroke at a time … Tomorrow .

Until then , a few snaps of my new digs. My studio is in Highland Park, about 15 minutes from our Little Hermitage. Aside from the convenience I have the good fortune of being studio neighbors with the incredible Judithe Hernandez. I’m thrilled.

   

    
   Wish me luck slaying the demons .

Upcoming exhibition: The Marvelous Minds

  Two of my paintings have been accepted in this collection of strange and wonderful work. My new yet already dear friend Liz Huston is curating the show , she is a sensitive aesthete  and I know it will be a place of wonder. I’m thrilled to have been invited. 

Details follow , should be grand as costumes are encouraged , I’m working on my ensemble this week, thinking the Antichrist. Would love to see my local friends at the opening !

  

Thanking the printmaking gods …

  There was only one causality with this complicated move of home and studio, the movers dropped my print making press. I have been sick about it, imploring fellow printmakers for advice, for any suggestions as to who can look at it to assess the damage ( tradesmen who repair small presses seem as scarce as hen’s teeth).
Facing my fears I ran a proof , and it though it is not on lush paper, so far it looks;  my stalwart press may be dinged and less showroom glossed, but she carries on with dented dignity .

Still if anyone knows of a technician I would appreciate the lead. 

Making headway in the new studio, unpacking and organizing the increasingly shrinking square footage; my steadfast chihuahua my loyal if sleepy companion .

Heading home so he can nap in a proper bed. Good night.

  

Onward 

  Today I picked up my “prize winning ” painting , amazing how validating that is; tomorrow my David and I (and the real laborers ) move into my new studio. New adventures seem just around the corner .

 But tonight , it is just the two of us and the most delightful Thai food .
The gods are generous .