bassline

“Imagine painting. But you’re 200 yards away from the canvas, and 80 people are holding the brush. And you’re on a walkie-talkie going, ‘Need a little blue there. No darker blue. No DARKER BLUE!’”

— David Fincher’s definition of directing.

I'd have a very difficult time dealing with assistants in the studio, if my work warranted it. It just wouldn't be the same having someone else work on my paintings, I have to be in there otherwise there's no point in bothering to continue to paint .  Following the experience through to the end is what makes art work for me. If I haven't worked on a piece all the way through from start to finish, then I'd have a hard time calling it mine and putting out into the world as such.

There have been and continue to be plenty of painters who avail themselves of studio assistants just to be able to get their work completed. Kehinde Wiley and Marilyn Minter come to mind as two contemporary painters who use studio assistants to help finish their works. I'm not a purist about it because I know that photography, printmaking, sculpture, and installation work all have some sort of collaborative aspect built into the practice. I just feel that if I'm not going through every step of the process of making a painting myself, I'm missing something. The experience is that much less for me and I feel that there begins to be a disconnect between myself and the work. I'd have a difficult time with the kind of distance that comes with having others painting parts of or entire paintings for me.

I suppose that if I were given a commission that required a time limit and enough money, I'd have to hire someone to do some tasks that I might not be able to get done while painting, like stretching canvas and maybe mixing paints, but that's about it. I wouldn't be interested in letting someone else actually paint for me.  

285/366" open studios day 1

Day one of this year's open studlos went really well. There were 35 visitors, of which 33 were not friends or acquaintances. There were a couple of return visitors from previous years. Very good for one day.

I only wish that I felt better. The quality of my sleep last night was abysmal, to say the least. I was left with a mildly scratchy throat, felt congested, and incredibly sleepy. I don't know how I got through the day, but every time a visitor came into the studio I perked up pretty quickly. I'm definitely looking forward to tomorrow.



To have been there, 2000, acrylic on panel, 48" x 48"

Every year that I have an open studio, I drag out some older work for people to see. It's good to see some pieces that I haven't looked at in a long time and see how my work has evolved from that time.

Intersection I, 2008, acrylic on panel, 16" x 16"


Intersection II, 2008, acrylic on panel, 16" x 16"

Two new pieces completed in the last couple of weeks.

With all of the upheaval that is going on, the constant of art helping to keep me sane and looking forward. Can't wait to get back into my regular studio schedule. Having to move comes just as I'm gearing up to refine some new ideas and make larger pieces. At the very least, the motivation is there. All I need now is some open time again, which shouldn't be too long. At least I hope there isn't a long pause from the studio.

Knowing me, I'll find a way to be in there regardless of what's happening, even if it's only an hour or two here and there until we're resettled.

Pour, 2008, acrylic on panel, 16" x 16"

One of the small works on panel that I've completed recently.

209/366: adjustment

I was setting up a painting to photograph last night after work. One of Bridgette's clients is interested in some available works from 2005 that I didn't have digital images of, only slides. She needed the digital images to send via email before his visit to my studio later this week.

I have an 'ok' set-up for photographing paintings, but could really use some tungsten floodlights instead of the regular incandescent ones I have now, which cast a yellowish light over the image. I can correct some of the problems on the computer, but the results are still usually a little bit off. I did manage to get the images pretty close to the originals, though. I have some money coming in soon, so the bulbs are on my list of supplies.

I had to dig through some works to find the ones needed for this mini project and wound up finding some works on paper from this same period. I hadn't looked at the drawings and paintings on paper for the past three years. It was kind of surprising to see them because I'd put them away and almost forgotten they existed. Even though I've moved on to other work, I really like those pieces and have resolved to document them this week.

Untitled, 2008, acrylic on panel, 16" x 16"

I've been in something of a monochromatic mood lately. This might last a few weeks or months, but for now, it suits my needs. This is one of a few pieces I'm working on using white over a color, black or the natural color of the wood panels.

Untitled, 2008, acrylic on panel, 24" x 24"

New painting finished last week. I wasn't considering it done until now. I was unsure of it's being complete last week, but I'm certain that there's nothing else that I want to do with it. It's rare that I will finish a painting and right after that say that it's done. Almost never happens. I'm often distrustful of declaring that something is done right away because, almost inevitably, there will be some aspect that I'll want to change down the line.

Instead of messing around with a piece that's as finished as it's going to be, I'll just start another one to address issues from the first work that I felt unsure of.

Light Veil, 2007, acrylic and ink on canvas, 36" x 48"

There's a new group show coming up at the Bridgette Mayer Gallery called, Black and White and the painting above is my contribution. This is the second year that Bridgette has had a group show's theme reflect colors-last year's was The Red Show.

Someone asked me if I had a problem working within the constraints of a certain color theme like 'black and white' since I'm known as a colorist. I told him that I didn't have a problem with it at all; if anything, I looked at it as a creative challenge. I had a good time with this work and I'm thinking about pursuing a series based on this idea.

Left: Stratum I
Right: Plume
both: 2007, acrylic on canvas, 60" x 72"

Last week, I delivered the new paintings I worked on to the Philadelphia Art Alliance and took a few shots the next day after the paintings were installed. The show looks good and I'm happy that it's finally up.

The Art Alliance is an interesting and beautiful setting for contemporary art. It's history dates back to 1906, when it was built and remains one of the rew original mansions standing on Rittenhouse Square, in center city Philadelphia. It's the perfect place to start dialogues about contemporary art and the surroundings that it's shown in.

I have 9 new paintings in the show, 8 of which were done exclusively
for this exhibition. For a couple more preview photos of the
installation, go here

If you're in Philadelphia or are going to be sometime in the next three months, here's more information about the show:

Stratum: recent paintings by Tim McFarlane
September 20-December 30, 2007

Opening Reception:
Thursday, September 20, 2007
5:30-7:30pm

Philadelphia Art Alliance
251 South 18th Street
Philadelphia, PA 19103
215.545.4302
www.philartalliance.org

Window Gazing

I was taking a short break from painting on Wednesday when I thought it would be a good time to take some new self-portraits. I took about 5 or so and this is my favorite of the bunch. I didn't have my tripod with me, so I improvised and propped the camera up against the window sill at my feet, set the timer, and just stared out at the gathering rain clouds.

( art + life )

Old City Rain
( *best viewed large* )

The view outside my studio window yesterday as a big rainstorm rolled over the area. I was pretty much done with painting for the day and was waiting for the rainfall to slacken a bit before I rode home on my bike. I'm still a little skittish about riding in the rain after having the bike skid out from under me while turning a corner almost three years ago. I was riding too fast and I've since adjusted my rain-riding style, but it still haunts me a little.

When I did take off, there was a little surprise at how easy the ride was, even with the rain. Not a problem at all. I shouldn't be surprised, but sometimes our minds can really do a number on our psyches.
......


Detail of new painting

I'm in the home-stretch with preparations for my next exhibition. Most of the work is done. I'm just trying to finish up a couple of final pieces before next weekend. As usual, I'm seeing the light at the end of a long tunnel of wrestling with paint, ideas and deadlines. Just a few weeks ago, I was seriously wondering if I'd be able to pull it all together and have enough work to show that I was happy with.

So far, so good. There are some small lingering doubts about some artistic decisions I've made, but for the most part, I'm satisfied with what I'm seeing. I still need some time to take in what I've done; I'm way too close to it all. I think that once I see the work outside of the studio and have a chance to reflect, I'll start having a clearer view of what I've been doing.

One of the things about having shows is being able to look at the paintings out of the studio context. Putting them in a new context that's outside of my own internal world, where they sprange from, gives me the chance to look at them with new eyes. Most of the paintings have already been out of the studio for the past week and-a-half. They had to be photographed and were then delivered to the gallery so my only contact with them have been through photos and memory.

It'll be interesting to see what I think in a couple of weeks...

Corner

On another note, preparations for my next exhibition are moving along pretty well. The pace is picking up a bit as it's time to work on the promotional side of things in addition to getting the rest of the paintings finished.

Yesterday, I took a couple of works to be photographed. I'll have to pick them up today and have the images, also. These will be used for the exhibition card and an ad in the Gallery Guide.

I'd hoped to get some painting done yesterday, as well, but that just didn't pan out. After returning from delivering the paintings, I had lunch and promptly fell asleep on the couch in the studio. I was out for a while. I woke up a coulple of hours later and still felt sleepy/groggy and not able to concentrate on working. I read instead. I wasn't happy about it, but I couldn't force it either. That would have been a disaster.

I sat there reading and periodically looking at the paintings I'd completed already. My studio mate came in and reminded me of the importance of "just being in the space and absorbing" what's been done. She had a point, one which I was familiar with but rarely put into practice. I'll stop and observe what I've been working on while I'm actively painting, but rarely is there a day like yesterday, where I did absolutely nothing physical there.

It turned out to be good, I have to admit. I got to assess where I was in the process and where I might go with whatever I do next. I value the continual dialogue with painting and it's good to remember or be reminded that the dialogue includes 'doing' and 'looking'. Evaluating one's progress is intergral to any kind of creativity. Otherwise, there's no sense of connection with the work, which can impede progress, as well.

Another day in the studio. Only this time, E was there, too. She managed to take a few shots of me working without my knowing it. I tend to be able to stay in my own headspace even with someone there. I'm concsious of her being there, but I'm also able to stay focused on whatever it is that I'm working on, too. E kept herself busy with painting wooden cigar boxes she's purchased recently.



I'm working on a commissioned painting and stretched the canvas today. This is going to be a vertical work-60" x 50".
( working in the studio today )

I've had a few days to think about the review of my work seen in this post
( a few thoughts about ineterpretations )

I've just come across a link for the first review of The Red Show, the latest exhibition I'm involved with at the Bridgette Mayer Gallery through this Saturday, December 23rd.


All That Could Be, 2006, acrylic on canvas, 60" x 84"

Review on Philadelphia Weekly's website

Same review with photos and additional commentary (scroll down to "weekly update 2-the red show")

( The Red Show review )

It worked! I had to deliver the painting ("All That Could Be") to the gallery yesterday and the only way out for it was the window. I knew the work wasn't going to fit down the stairs a long while ago, so I'd planned on this little adventure. A good start was that the weather was great, sunny and fairly warm for November.

Originally, I was going to meet Bridgette and Ross at the studio around 10am, but I called both of them and pushed that back to 10:30. It was the day after Thanksgiving and it was diffictult to get moving. We met, discussed the possibilities of bringing it down the stairs but nixed that idea pretty quickly.

Once upstairs, I wrapped the painting really well with plastic, put bubble wrap around the corners and then wrapped and tied rope around the painting. Since Ross was taller, we sent him downstairs to receive the painting as it was lowered. Bridgette and I took our time getting it out of the fire escape door, then just as slowly lowered it down to Ross. Luckily, the work wasn't heavy and there wasn't any wind. I think it took maybe 5 minutes to get the painting on the ground. Just like that, it was over.

I let out a huge sigh of relief once we were done. I'd been thinking about how this was going to go even before I had the canvas stretched. Now that this is over, I know that I can get larger works out of the studio without too much trouble, so I think I'll do a couple more around that size (5' x 7') for my show next June.

Titles don't always come easy. If something doesn't hit me right away, I'll wait and let the work sit for a bit before attempting to name it. Honestly, most of the time, I'd not bother with titles, but I also hate using 'Untitled'. I do, here and there, but I try to avoid it when I can.

All That Could Be came to me today while at work. I was thinking about what I was listening to a lot while working on the painting. During one session last week, I was listening to some Nine Inch Nails. I hadn't done so in a while, but I'd recently purchased the latest book about the work of graphic designer David Carson, whose work I'm a fan of and who designed the cover for NIN's The Fragile. Nine Inch Nails has a live dvd titled, "And All That Could Have Been" that's been out for a couple of years now. Love the title, but it was kind of the opposite of what I felt the painting was about. So, I changed the wording and meaning to suit my needs. The suggestion of possibilities in All That Could Be appeals to me on a lot of levels in my life right now.

I'm surprised at how quickly I resolved this work. I thought I'd have a much tougher time dealing with it because of the time constraints and so forth, but I feel it's finished and that's that. All that's left now is to wrap and deliver it to the gallery. I'm going to have to tie the painting up and lower it out of my studio window to the ground. It will fit down the stairs, but there's too sharp of a corner at the bottom for it to fit through, so out the window it goes. This should be interesting. My only hope is that it's not raining nor windy this Friday. Four stories isn't that high, but it's enough for something to go really wrong with the right gust of wind. A 5' x 7' painting can make quite a sail when the wind catches it. Let's hope for an uneventful, calm Friday morning, lol!

Timing can be a bitch sometimes. E's flight arrives at JFK Airport around 9:30pm on November 30th. The plan is for her to catch a shuttle from the airport to Penn Station where I'll meet her and we'll take the train down to Philly. The problem is that it can take almost two hours to get from the airport to mid-town Manhattan. I was told that it could be less, but no one is sure.

The problem lies with the departure time of the last train out of New York-11:15pm. If we miss that one, we'll have to wait around for the next one out, which is at 3am. We'll just find a deli close to the station to eat and hang out until it's time to catch the train. Probably take her over to Times Square so she can see that and the outside of the Empire State Building. I'm planning on taking her up to New York in January, anyway, so this will be a bit of a tease.

.......

( art adrenaline )

Rust Box Shadow

(*from my art blog)

It's funny how things work out. Yesterday, I had something of a breakthrough from my latest creative blockage. I can't say that there was some kind of "ah, ha!" moment. It was more like the gradual build-up of a series of moments until I found myself suddenly thinking in a wide-open space where ideas were pouring in. The space was there the whole time; there was just something blocking the entrance. Slowly, ideas began creeping around the edges of the blockage, finding weaknesses in the armor of the space's guardian whose only interest was keeping that space clean and pristine. Now, there's all sorts of thngs messing up that space, the way they should.

......

The past couple of days have found me re-engaging myself with the mental side of art, which I hadn't been able to really do for a while this year. I've done a few paintings here and there, but for the most part, I've felt myself divorced from real, active engagement with my work. Just like my re-immersion in it, there was a gradual separation from my art life over the months since my last solo show, almost a year ago now. I think I hit something of a wall after that exhibition. Just like the end of any project that you've spent a considerable amount of time and energy working intensly on, the end of that period can bring a lot of questions about what's going to happen next. It's always like that with me. "I've done this, now what next?" As always, the answer is "continue working"

......

I feel reanimated now. Refreshed and ready to re-engage my creative self in ways I haven't in a while. There's a lot swirling around in my head. Ideas for paintig, photography, drawing, printmaking...everything, almost. The only thing to do is work...