6:41 PM 9/22/2015

My work presents itself though a concept.  Individual works, and sometimes groups of work, are created around a concept.  Say…. EAT:  Link 1; Link 2.
This is difficult to do using photography as a base.  Realism automatically sets up a question that is related to literature.  Words explain the real world to us.  By extrapolation, then, realism must tell a story; explain something.  To present the concept only, without any word explanation from me, I set up an arena of contemplation; a setting where questions are asked but not always answered by the concept maker.  The viewer must now engage in contemplating the image and its structures; ask questions of their own; listen to their inner voice for possible answers.  No answer is correct.  No answer is wrong.  They are simply answers, which hopefully lead to asking more questions.
A concept is structured using images that create connections and associations that start to reveal what it might be; a glimpse; a reflection; a pointer; a place maker.

8:34 PM 9/23/2015

I like to work at manipulating digital photography of people relating to people, themselves, the artist, using different psychological states as a driving engine, and not sentimental if at all possible, or super emphasizing the sentimental as expression and documentation.  Cliche is also good.  I also like action to be static.  I like to remove all signs of lens distortion and off-horizon angle, everything nice and tightly related to sides, top and bottom.

People and things, events, relate to the picture plane.  The picture plane is the thing in  2d art.  No picture plane.  No art.

The feeling and experience of all things “isolation”;  getting away from the noise of life; solitude, comfort with ones self, being within one’s skin.

Image structure explores the event as an appearing open-ended — deliberately suspended.

The visual related to music and sound and how the abstractness of sound-like images make a statement at the level of poetry; word structure of a poem; especially a minimalist poem.

All things surrealist. Monsters.  Imaginary reality.

10:35 PM 9/24/2015

I like the drama created by artists involved with surrealism; a sense of mystery where the question is asked, “what is it?”  Most of what I have written so far needs to fit the cover concept:  surreal, mystery, —–

Grid Related Minimalism

9:13 AM 1/22/2016

interesting thought.

my digital fotografy/imaging = interest in grid alignment of parts… align all straight lines to be parallel to sides and top;  eliminate all extraneous elements = a grid related minimalism; this minimalism equates to a kind of isolationalism (being alone or wanting to be alone in what ever environment presented); the “aloneness” could = a form of fear = or a desire to escape from “whatever”; to disappear; as an artist (me) to step outside of the immediate experience, like a ghost mabe, and simply observe the “action”; be a voyeur.  Relating all of ths to current culture, I exist as an outsider not willing to interact locally.  This keeps me and my mind free to explore all aspects of a given cultural/political/environmental interest; or ignore it and the work becomes a fantasy which may or may not combine the past, present, and the future {however one wants to define “future”.  ….social commentary both personal and publically defined.

digital imaging:  non-fotografy related = all over the map with regard to image structure; from hyper realism to completely non-objective structure.  Also added to digital imaging = combination of fotography, found digital images from all possible sources, abstractions of all definitions, plus—— to be continued.

Am I Protean?

9:54 AM 2/2/2016

As an artist, am I protean?
Iowa grad faculty had a hard time with this because I kept shifting.  They considered this a negative.  Not enuff evidence to evaluate work correctly(?).  Whaaaaaa?
YesBut:  I like to explore and experiment.  Maybe a better pigeon hole would be “conceptual” artist.  This would be ok if I could express my artistic thoughts via words.  I cannot.  So the confusion continues for the audience as well as for myself.
2016:  I continue to struggle with proteanism in my work.  Art making now confined to digital images (all things digital including my take on “straight” fotografy).  I continue to search for my “center”.  I dance all around this indefinable “center”.  I get a glimpse of it once in awhile.  But never see this “center” with any clarity.  I keep searching.   I keep exploring different media to see if “this” new stuff can bring into the light my “center”.

10:10 AM 2/2/2016} In addition I am very impatient and full of high anxiety.  I feel that most art processes are too slow and can’t keep up with my mind.  I need a medium that can change to match my mind as fast as it changes.  Digital imaging, so far, seems to come as close as I can find, at this time, to achieving this goal.

9:50 AM 2/2/2016

adjective: protean

tending or able to change frequently or easily.
“it is difficult to comprehend the whole of this protean subject”
synonyms:    ever-changing, variable, changeable, mutable, kaleidoscopic, inconstant, inconsistent, unstable, shifting, unsettled, fluctuating, fluid, wavering, vacillating, mercurial, volatile; technicallabile
“the protean nature of mental disorders”
antonyms:    constant, consistent
able to do many different things; versatile.
“Shostakovich was a remarkably protean composer, one at home in a wide range of styles”
synonyms:    versatile, adaptable, flexible, all-around, multifaceted, multitalented, many-sided
“a remarkably protean composer”

Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
adjective changeable, variable, volatile, versatile, temperamental, ever-changing, mercurial, many-sided, mutable, polymorphous, multiform the protean and complex nature of his work

English-Spanish Medical Dictionary © Farlex 2012


12:09 PM 11/23/2015; update 2:31 PM 7/15/2016.  This was written in NC before my move to Whidbey Island WA in Feb/Mar 2016.

I haven’t posted to my blog in 6 years.  I felt that I had nothing to say that was worth publishing.  I would write something.  The next day I didn’t believe what I had written.  So I stopped writing altogether.

Today I felt like writing this little ditty on galleries.

After 2000, or so, as the artist/gallery structure started to morph into something that I didn’t understand or no longer fit, I found it harder and harder to write about my art.  My art for the most part is not narrative and therefore is not easily represented through word constructions.  My work still isn’t narrative.  I have finally given up trying to explain in words what I do in painting, sculpture and digital imaging.  Galleries, grant organizations, and others want artists to make “artist statements” about what we “do”.  The decision makers who run these organizations seem to need a manual that explains the art before they endorse it for exhibit or grant offerings.  I could never write a convincing sales pitch about my work.  Uhhhh!  It is nonverbal!


In 2009 I ended my last relationship with a commercial gallery.  The director was micromanaging big time and in the end wanted to dictate what I should create so he could sell it to his commodity oriented clients.  He wanted me to be a market artist.  No-no!  Over!

A short story:  Back in 1988-89, my gallery director decided to increase his commission from 40% to 50%.  No problem.  I adjusted my retail prices accordingly.  Upon delivery to the gallery a set of new paintings, I was greeted –the new paintings were priced too high.  He wouldn’t accept the paintings until I lowered my prices.  I then wanted him to lower his commission and he said no.  Dilemma?  I reluctantly agreed to lower my prices which effectively negated my price increase to match his 10% increase.  I never made any money from this gallery again.  Broke even at best!

Since 1989 I have had this same battle over my prices not fitting a gallery commission of 50%.  What I needed in pricing so I could at least make a minimal profit, the galleries would not accept.  When I moved from CT to NC in 1991, I decided to drop out of the commercial art circus.  In 1995 I joined a Galley in NC.  Agreements were nice and acceptable.  Not many sales though.  In 1999 this gallery closed.  I again dropped out of the commercial art circus.  In 2006 I joined my last gallery.  This relationship ended in disaster in 2009 as I stated at the start of this commentary.  As I write this, 2015, I remain unrepresented.  I love the freedom.

As it now operates in the Charlotte NC area, artists take it upon themselves to self promote and sell through studio weekends or other collaborations.  Works very well.  The commercial gallery scene in Charlotte is dead at best.  If I am really interested in getting back into selling my art, self promotion is the way I would go.  I am not interested.  Want some art?  Buy a print from the internet for under $5.00.   Or get involved in extreme postmodernism.  Call yourself and artist and make your own art.

I haven’t quite figured this out yet, but I believe the internet and postmodernism and commodity invasion of the art markets has killed creativity in visual arts except for the rare few individuals who have figured out a way to self promote and succeed in the commercial world of art as commodity and still make art that is personal and creative.  Some of the art that comes from this arrangement is questionable, but there is no paradigm by which to judge it.  Postmodernism accepts anything as art by anyone who wants to call themselves an artist.  Interesting times????

Update:  2:54 PM 7/15/2016:  I recently read an interesting interview with artist Sterling Ruby.  Conversation came up dealing with his connection being labeled a “Market Artist”.  Interesting read!  Also I remain unrepresented by a commercial art venue.


2:00 AM 5/20/2010 (date written)

i turn around and see myself on the net

i have got to stop looking at art on the net. i continue to turn over websites that reveal to me new artists and their work. Some of them seem to be me. what? can anybody ever be original anymore? it seems that there are at least 10 or more artists exploring the same territory at the same time without ever knowing the existence of the other. How can anybody every be in a “first” category with their art again. too many people involved in the act(ion) now.

Kinda negates the last entry “riding this horse” doesn’t it? Or does it?

And life continues.

riding this horse

10:07 AM 5/17/2010

riding this horse

i seem to be the only one riding this horse. it must be a horse of a different color. at the same time i seem to be invisible; even to myself at times. as an art maker i am free.

this is a nice place to be as a maker. throw caution to the winds. throw anxiety to the winds. make, make, make! however, after awhile, what does all this mean to the self if its only me that sees or feels it? dilemma? yes! i say to myself that it doesn’t matter if it is seen. busllshit! it does matter. but getting it seen today is almost impossible. i don’t network anymore— not that i ever really networked in the first place. but 20 — 30 years ago, i didn’t seem to have issues getting my makings shown in galleries and/or museums; or sold. now? forget it. like pulling hen’s teeth!

so, what do you (i) do?

dunno! i keep on making. turn over rocks to find venues interested in showing the work. don’t know what else to do. in a commodity run art world, art seems to be invisible. i seem to be invisible. as an invisible, i need to put on the suit and get on with it.


dpn 10:15 AM 5/17/2010

personal art making

12:22 PM 5/15/2010 (date written)
personal art making

of all the elements that point out a personal/unique view in an art work, regardless of its medium and/or style; how the individual maker organizes space is the determining factor. all artists/makers use approximately the same materials, techniques, and other whatnots of their trade. but it is how this stuff is organized in the field of action that separates one maker from another; distinguishes a deKooning from peter halley from frank stella from robert altman from spielberg from michaelangelo from john chamberlain from…………………………..