Notes on my work…

My work alternates between theorizing and work, one always chasing the other. Sometimes the work pursues the theories, while other times the creation is present first, later to reveal its theories. Each time, the work is best observed chronologically spiraling back and forth as it folds upon itself to reveal its retrospective wisdom, insight and innuendos of prophecy.

My work never comes to terms with itself, for I as a man never come to terms with myself. It is always changing, like life...sometimes wrong, sometimes right. It is a mysterious journey, destination unknown; dialectic, defined to be smashed, style gained then destroyed, course set, then altered. It is a process. It is an action, an expression, a definition, my myth…sometimes tangible, sometimes concept…always real.

*also see artist statement on Main Web page if you haven't already done so

Children's Art.

Observing my child on the break, I have come to a new conclusion in my work. I shouldn’t say come to a conclusion rather that I have caught a glimpse into, or had an insight into the true nature of art from a child’s perspective.

I watched him draw a portrait of me, his daddy. The abstraction was hardly recognizable as a human, let alone me, a specific human. It puzzled me. But to him, it was unmistakably me. I even asked hum the names of them, hid them for a couple of days, brought them backed out and he recalled exactly what they were. I was definitely perplexed.

I asked him, later, to draw another picture for me, one of a complete abstract nature. I prompted him to draw ‘happy,’ leaving it open ended. He became frustrated, unable to put the marker to the pad saying, “I can’t.” I then asked him to draw ‘sad’, ‘angry,’ ‘sorry,’ and ‘love.’ Again, it was the same answer, “I can’t.”

I was confused, almost disappointed. Here my son, drew a beautifully expressive abstraction, but couldn’t draw these basic emotions. I didn’t understand.

Later the answer came, like the sound of a piano being kicked by an elephant. It wasn’t abstraction, or expression that children worked from, rather it was ritual and ego. To him, it is the process of making marks that mean something only to him, recognizable, only to him; a truly personalized egocentric language. A ritual of himself, a process of owning his world, of making things his, like writing your name on something. It is a pure desire to make a history, one’s own history.

*painting by Zion Reeves, acrylic on canvas.

Oil Pastel with Pencil on Paper

Oil pastel and Pencil on Paper

Both of these are 18 x 24in.
*in the one below notice how the simple line gesture captures the skeleton.
Isn't that shovel just beautiful?..the first time I have drawn one.

Four Drawings of the figure

Acrylic, marker and oil pastel on paper.

Self Portrait

Self portrait
Pastel and pencil on paper

Extemporizing in Black on White

Black Ink on white paper has always been one of my favorite mediums. Its starkness, readiness and arrogance make it all too American. You must think in line, shape, value and space to truly capture the gesture of the subject. All these aspects must unify seamlessly alternating like a musical composition. Ink drawing is piano jazz; all improvisation.

Like I said on my page, concerning my music, 'I like to leave the brushstrokes on the notes'... it is the same in my drawings and paintings; I like to leave in the resonance and discord.

There is a clash manifested in the best of art, a duality, that can be laughed to or cried to. Capturing this is the ultimate...the supreme...the Tao of Art.