new painting: Falling Into Place

16x20, acrylic on canvas. This painting features simple an complex shapes, interacting (or as I like to say, dancing) with eachother on a richly toned background. Look closer and you will find details you had not noticed upon initial viewing.

I am selling this piece for $500, including free US shipping.

new painting: Missisippi Eddy

16x20, acrylic on canvas. This non-representational piece prominently features my trademark use of spiral. inspired by the Fibonacci, or "golden" spiral, I create these spirals freehand, with no tools or templates to guide my hand. I don't even use the simple geometric ratio to render them. I am not, however, above using a ruler to create straight lines occasionally.

I am selling this piece for $500, shipping within the US is included.

new painting: Meteor Buffer Mechanism

16x20, acrylic on canvas. This non-representational piece features a bold, but simple color palette, and intricate shapes all interacting with eachother. Like much of my abstract work, this rewards the viewer who looks closer with detail that you might not notice viewing from afar.

I'm selling this for $500, and shipping is free within the US.

Persistent Summer

18x24, acrylic on canvas. Painted from a b&w photo I took two years ago just off Hawthorne. I believe that alley leads directly into Ladd's Addition.

I'm selling this piece for $700, and will ship for free.

Steel Dragon Series

These are all hand-pulled screen prints of Portland's Steel Bridge, as viewed from the west side. They come in a variety of colors and patterns. These twenty (of a series of fifty-six) are each one-of-a-kind, and with a printed area of approx. 11x8 inches (paper size varies, as the paper I used varies).

I am selling them for $50 each without frames and mattes, and $75 framed and matted. Shipping and handling charge of $10 applies, but can be refunded if for some reason shipping is irrelevant.

Steel Dragon #28

Unframed $50.00 USDFramed and matted $75.00 USD

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Steel Dragon #38

Unframed $50.00 USD Framed and matted $75.00 USD

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Steel Dragon #33

Unframed $50.00 USD Framed and matted $75.00 USD

Hawthorne Highlands

12x16, Acrylic on Canva-paper. This image of a telephone pole covered in decaying fliers on Hawthorne in Portland was based on a photograph I took last year and represents over twenty hours of painstaking work. The colors are rich and true, and convey better than I have ever before a beautiful sunny day in the shade.

$600 includes shipping, framing and matting.

Phineas Phlatbottom's Fantastical Flying Contraption

18 x 24 acrylic on canvas. This abstract painting represents 20 hours of painstaking work. The burgundy and off-white colors against the blue and yellow sky-like background suggest to me Warner Brothers cartoons from the 50's, while the design seems to suggest a Jules-Verne type airship. But of course I invite you to see in it whatever excites you. The image itself is bold yet subtle, filled with small details that you are sure to find new things in for years to come.

$500 for this elegant piece. Free shipping and handling within North America.

Zippo and Rag

In the interest of turning this blog into a means of selling my art directly, I present "Zippo and Rag" for sale.



20x16, acrylic on canvas. A still-life comprising 40 hours of work. Using bold, powerful colors in a scene stark perspective and deep shadows, this piece luxuriates in the dynamism of an otherwise mundane subject.

You can own this piece for $1000 (plus $50 shipping and handling) by clicking the link below.

New Art, Yall!

So I've been doing some silkscreen prints lately. here's they:

this is an image I call "Right Turtle 2", based on the left turtle series of drawings, and the right turtle woodcut print mentioned in a below post. with this I worked hard to maintain fidelity with the original right turtle image, and simply translate it to the silkscreen as best I could.

using two screens and colored paper as a vehicle for a third color, I experimented with different combinations. and by not being too particular about the cleanliness of the screen as it pertains to colors from previous prints I was able to both avoid the straight-up primary colors I was working with, and instead find subtle color depths that are intriguing.

on the first few prints I used thread and scraps of paper between the screen and paper to achieve temporary effects good for a single print. the results were okay, but the best prints came out with a sort of legacy rusticification (new word. patent pending) that benefited all subsequent prints. the blue/cream colored one you see here is my first sale of the batch. others (including some not pictured are also for sale on my etsy site
for $20 each, plus shipping and handling.






next we have this screenprint. I call it Arm Draped because I could never come up with a satisfactory name for it. I based it on an image I created in white ink on brown matting board (seen below as Sleeping Satyress), which was itself based on a drawing I did at a figure drawing session. for this as well I tried to maintain fidelity with the source image, but I also made some minor corrections to it as well.


furthermore, I expanded the abstract shapes somewhat to fit the differing parameters of the screen, and reversed some of the negative space. this is a one-screen print. I made alot of them in black on colored paper, which I intend to use for collage purposes, but the ones I did mixing colors on white paper turned out the most interesting, so I think I will leave most of them untouched. some of these are for sale for $15 (plus s/h) on my etsy site as well.

First Painting of 09!

Slushbird - 12x16, acrylic on canvas. based on a bird I saw out my window during the recent snows.

sleeping-satyress-3

sleeping-satyress-3
Originally uploaded by brandnameartist

upturned-claw

upturned-claw
Originally uploaded by brandnameartist

sign

sign
Originally uploaded by brandnameartist

New ACEOs in the ol' shop

I'd like to say old ACEOs in the new shop, but that would be a lie. $3.50 each in my shop (brandnameartist.etsy.com). buy three or more and shipping is free! know me personally and can collect in person shipping is free for me as well! friend-prices apply if you fall into the latter category.

I say, I say, ACEO

ACEO prints now available at my etsy shop!if you don't know what an ACEO is, it's basically an art trading card. here's a link to the wiki page on the subject.

Hands across Mad Scientists

posted these both previously, but here are some nicer high-quality scans (thanks Kelly!) as you can see I added a striped sleeve to "Select" because it seemed to be missing something in it's previous iteration. I think the sleeve really ties it together. and I've added a new mad scientist, #6 "The Mind Ray"

Figure Drawing

from a figure drawing session. done in black and clear brush pen. taking suggestions for a name.

Left Turtle 1

here's the first Left Turtle I mentioned in the previous blog. black ballpoint in pocket-size sketchbook.

Turtles

this is the story of turtles. in 2001 I raised my left knee up and placed my hand down on it, fingers spread, and wrist aimed squarely at my eye and started sketching in ballpoint pen (and underrated medium). this was left turtle 1 (to be posted as soon as I can find it). I liked the pose, so I did it several more times. I called them "Left Turtles" because it was my left hand, and they looked like turtles, with the wrist the shell, the middle finger the head, and the other fingers it's legs. above we see attempt number two, this time in charcoal. I got a decent tone with it, but I think parts came out a bit flat. it looks almost as though it were a piece of paper folded to create a semi-3d.







for Left Turtle 3 I used ink and chinese brush. I kinda let myself go, and sketched with a quickness. this I was also unhappy with. it's rough, but rough is fine with me. but this roughness was not an interesting roughness to me. and having been so rehearsed I began losing control of scale and proportion. basically I was starting to get bored. the pinky is also not visible in this, as it was not in the the pose of my hand that time. each of these was drawn from a new pose.







my fourth attempt carries over some of the same problems as the third, and expands upon them. in charcoal again, I this time toned the paper with vine charcoal and started by gouging out the highlights with a moldable eraser as I was taught, and then shaded the rest with compressed charcoal, avoiding reliance on contour lines. I have to say I'm quite proud of the light/shadow on this one. I got the dimensionality right on this one, but again the proportion is totally fucked.







back again to the chinese brush, this time I was really getting fatigued with the whole idea, and it shows. proportion is all off, the ringfinger is bulbous and ungainly. the roughness is more jarring and even less interesting. not a success.







attempt six. desperately trying to breathe new life into my inspiration I decided to draw on black with white ink. my hatched highlighting on the forearm was problematic, and I countinued to screw up the ring finger. but overall I think it looks decent as a n image.







finally I was watching TV on the couch and decided to sketch a turtle on a board in pencil and carve it out for woodcut prints. I did a very simple and rudimentary line drawing, and then carved out out the shading freehand. success! the print was to be re-dubbed "Right Turtle", as it became a mirror image once printed. I experimented with different techniques for the print process and post-printing:







using dampened paper...







and going over it with water and a brush, to name a couple.








finally I carved lines into the background of the block to create the penultimate version.












and then a few years later I xeroxed it and when over it with a sharpie to fix any of the remaining roughness to create a clean, final version to be used in whichever context the rougness does not play well:





and that is the story of turtles.