When I started working on my painting for ARTLESS I was overwhelmed by how much raw material I had to work with. I had drawings of pizza and dinosaurs and goats and hearts. I had fields of color and flowers and geometric shapes and squiggly lines and landscapes. I wasn’t sure how to organize these images in a cohesive way. I wanted to include everyone’s drawings but I also wanted to create a “good” painting. I wanted the painting to be an honest collaboration between myself and the ARTLESS participants. I quickly realized that if I wanted to create a successful painting I had to stop seeing these drawings as sacred objects. I needed to treat them like the old comic books and maps and scraps of wallpaper that I normally use in my paintings. Once that thought was planted inside my brain I was free to jump into the fire and start painting. I didn’t map out the composition beforehand. I didn’t plan ahead. I just grabbed paper and found a proper place for it. Sometimes I used the entire drawing. Sometimes I would tear the drawing into smaller pieces. Sometimes I would overlap the drawings. Sometimes I would draw or paint on top of the drawings. Many of the drawings are buried underneath other drawings or obscured by big brushstrokes or crayon scribbles. I tried my best to preserve as much of the original drawings as possible and use my own brushstrokes and scribbles to unify the drawings and create a more harmonious composition. I didn’t want to dominate the painting and I kept my own mark making to a minimum. I really wanted the drawings to be the focus of the painting. I’m really happy with the end result. I hope all of you like it.
Tonight was the 6th session of my Abstract Painting class with Jim Gross at Mark Arts. I left my giant rubbermaid bin full of collage materials at home and reduced my arsenal to a duffel bag full of paint brushes, crayons, colored pencils and tubes of paint. Tonight was all about scribbles and drips. I took a fistful of colored pencils and scribbled all over one of the panels. Seeing Dale Chihuly’s drawings at the Wichita Art Museum planted the idea in my brain. It was really fun to scribble with reckless abandon. When I draw / scribble on my abstract paintings I always strive to draw like a child but my drawings always feels forced or deliberate or dishonest because I am a trained artist trying to mimic the haphazardness of a child. I’ve discovered that it helps to draw without looking at what I am drawing and allow the drawing to be a surprise. The trick is getting your brain out of the way and allowing your hand to do the work. I am really happy with the progress I made tonight.
At one point I took a break and watched Jim Gross paint for a few minutes. The painting Jim was working on had a scrap of wood, a metal jar lid and a shard of glass adhered to the canvas among scraps of old newspapers, paint drips, old masking tape and other paper fragments. The painting is really wonderful. Jim’s work often reminds me that I can be a little rigid and safe and predictable when it comes to how I paint. Jim is really fearless. Any object in the room can become part of the painting or become an instrument for manipulating the paint. Tonight he made Torin Andersen paint with a giant rock and Torin ended up with a great painting and a really colorful rock. Tonight I was reminded that I need to push myself to be more experimental and creative with how I paint.
Tonight was the 5th session of my Abstract Painting class with Jim Gross at Mark Arts. I always bring a huge Rubbermaid container filled with old books, comics, paper scraps, a gallon of acrylic matte medium, tubes of paint, masking tape, paint brushes and other miscellaneous art supplies. I bring way too much shit to class and that box is really fucking heavy. I need to scale down. I might start by leaving my crayons at home because all of my crayons melted. You should never leave crayons, puppies or children inside a hot car. Tonight I continued to work on the two paintings I worked on last week. It was hot and I felt a little nauseous and I was struggling to get into a creative mindset. I added some purple to one of the paintings and it came alive and started to look like a “good” painting. The other painting went the other direction. I really fucked it up. The highlight of the evening was watching the legendary Jim Gross paint. He was working on a new painting for the “Ephemeral” exhibition at Friends University. The painting looks amazing already. I can’t wait to see the final product.
I just finished my painting for ARTLESS. I just need to apply 3 or 4 healthy coats of varnish and it will be officially done. The painting is called “I Love Pizza And Dinosaurs.” You can see the final painting at CityArts on Final Friday, July 29th – 6:00 pm – 8:00 pm. Here is a photo of the back of the painting. I collected signatures from everyone who contributed drawings and paintings and I pasted them on the back of my painting. I have always admired how Curt Clonts and Ian Stewart do little collage paintings or drawings on the back of their paintings along with their signature and title. I usually just write my name with a sharpie or a paint pen but this painting required something extra special. See you on Final Friday!
Tonight was the 4th session of my Abstract Painting class with Jim Gross at Mark Arts. Tonight I started 1 new painting and made some progress on another painting I started working on in the previous class. I am still in love with that stupid plastic card from Cox Communications and that was my primary tool for adding, subtracting and manipulating the paint. I did splatter some paint on one of the paintings but the end result wasn’t very exciting. Wet paint is sexier than dry paint. Both paintings are far from finished but they are both heading in the right direction. I am eager to finish both of them. Tonight I am stuck on the computer working on a freelance illustration that is due tomorrow morning. I need black coffee and devil music.
For over a decade, Charles Baughman has been building all of the cradled painting panels that I use for ALL of my paintings. It pays to know people like Charles that know how to properly use power tools and build things. If I had to build my cradled painting panels myself I wouldn’t have any fingers. Instead of cutting off my fingers and getting a hand full of splinters I just watch cartoons and eat nachos in my underwear while Charles is stuck in his studio doing all of the hard work.
Charles Baughman is now taking orders for his wooden cradled painting panels. You can place your order by calling Charles at 316-259-7272.
– Made with high quality mahogany door skin and high quality kiln-dried pine boards.- Front and back surfaces will be patched, sanded and primed with KILZ® Primer.
– Boxes measuring greater than 24” x 48” get additional center bracing and corner braces to minimize warping.
– Please keep in mind that these boxes are handmade and may have a 1/8” – 1/4” size discrepancy due to blade width. - NO RUSH ORDERS. Turnaround time is 2-4 weeks.
– Custom sizes are available. Ask for a quote!
– 50% deposit is required on all orders.
– $150 minimum order.
Testimonial / Richard Crowson
Charles brings the same meticulous attention-to-detail attitude to his box-building that he does to everything else. These are precisely made alternatives for painters who want a smooth surface support for their paints instead of rough canvas. They take paint beautifully and, since they are shallow “boxes,” no framing is required. If you’re tired of painting on Masonite panels, going to the trouble of either cradling or framing them, Charles’ boxes are exactly the solution. He makes ’em in lots of sizes, to your specs, and prices them cheap enough for starving artists to still have pocket change for buying boxed wine! I’m hooked.