Monthly Archives: October 2010

The Evolution of an Idea, Part III: Experiment Results

After 12 hours.

The paper is already soaking up the color wonderfully.  Note the difference in colors!

Where they overlap, the paper appears nearly untouched.  This is of no matter to me, since in the final process I will be soaking only one piece at a time.  In the future, I will take out the tea bag – it has left a notable stain on one of the samples.

After 24 hours.

After 48 hours.

Before:


After:

Dried.  Daylight shows their true colors, and look at the difference!  This technique will be the perfect platform for further manipulation.  Even the markings I’ve made are well-preserved.  What else am I going to use?  Brown charcoals, sand paper, dirt, even fire.

Now work begins on the new drawings.



The Evolution of an Idea, Part II: The Experiment

I begin with paper samples.

They are of different weights, different textures, and different brands.

I then apply all the mediums I plan on using for the project: pencil, vine charcoal, micron pen, India ink, etc.

In a large bowl, I combine my coloring agents: India inks and concentrated watercolor, and a bag of tea.

I immerse my paper samples in the mixture, turning them over so they will have constant contact with the solution.  I’ll be checking on them periodically over the next few days.

My goal is to give the paper an “aged” look.  Comparisons will be made on how each piece absorbs the color, and I want to see how my different art mediums fare after soaking in the muddy water.  Because, you see, after I finish drawing each new piece for the show, I’ll be giving them this same bath treatment.
SCIENCE!!


The Evolution of an Idea, Part I: The Sketchbook

In May 2009, I presented my first solo show at Gallery Zero in Portland.  I had created no less than 47 new art pieces in a short six months.  At the time, I was working and attending classes at PNCA.  I have no freaking idea how I pulled this off!!!  There was really no organization other than a timeline and a quantity I needed to meet.  Even still, I was working until 6 am the very last night before I had to deliver work.

After taking a long, looooooong break from the fine art world, I’ve decided to have another gallery tryst this January at the Eastbank Commerce Center.

The deadline has just reared its ugly head.

If you ever wondered how an idea journeys from an artist’s mind to a gallery wall, this is the place to watch.  For the first time, I’ll be documenting the process from beginning to end.

Here, now, is the very beginning of the evolution of an idea, which in this case will produce 11 -14 brand new works:

Before I put anything on paper, I like to let ideas marinate in my head.  One thought slowly gels with another, until images begin to form.  From there, one cohesive idea forms, an umbrella under which all the others will take shape.

For this show, tentatively titled Lost Pages, I’ll need to experiment with a few different techniques before the final work begins.

And, dudes, this is going to be fun.  I’m literally giddy.

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Even with the short time frame for the gallery show, I’ll continue to balance various projects and sketchbook drawings.  Because I’m a juggler.  So yes, Illustration continues, and long-dormant work on the book, The End of This & That forges on, with whole new perspective (literally).

Here is a coffee shop sketchbook session:

Til next time.  And, Happy Halloween, y’all.  It’s the best holiday!

Zombie Walk

The annual Zombie Walk dragged and shuffled its way through downtown Portland yesterday afternoon, congesting traffic and creating a trail of spectators as it went.

Jake and I ambled with them for a few blocks before breaking away and stepping into a store called Tender Loving Empire.

“Tender Loving Empire is a media and arts collective / record label / comics imprint / consignment store / gallery / custom screenprinter / concert production house / general purveyor of things artistic based in beautiful Portland, OR.”

Despite its multiple identities, the store was very well appointed and full of amazing, hand-crafted items.  They really know how to hone in on artists who create high-quality goods.  “Precious”, Jake calls it.

The window display featured hand-stitched instruments that reminded me of Michel Gondry’s film The Science of Sleep.

Whenever you Portland dudes venture downtown, pay a visit to this shop – I don’t think you’ll regret it.


Handwritten

Sketching on the plane.

Man, it’s good to be back in Portland.

While browsing the airport bookstore for something to read on our !!!five!!! different planes, I noticed a majority of the books had picked up on the current trend of handwritten text.

Publishers have even taken old-schoolers such as Orson Welles and re-suited their covers with a fresh & new, handmade look.  Fine by me.

In this sometimes cold, impersonal computer age, handwritten text offers the same warmth as a scripted letter to a friend.  I will always prefer hand-to-paper, loose, scrawling words over the clinical precision of type.

For most of my own branding, I have opted for a brush and ink technique, rather than laboring over the perfect font.  How could I possibly choose the one font to represent me?  Long live the slop!



Absence

I have not posted in awhile because I have been here:

Nukoli’i Beach, Princeville, Po’ipu Beach, Shipwreck Beach, Maniniholo Dry Cave, Waimea Canyon, Kauai Beach Resort, on the island of Kauai.

 

Although I had brought my sketchbook, it came as no surprise that I didn’t feel like drawing much.  I made of total of two drawings.  Scribbles, really.

 

Aloha!


Studio Visit: Andrew C. Wood

Welcome to another edition of Portland Creatives.  This week:

His drawings are dark, moody, and sometimes humorous.   Andrew C. Wood works like a mad scientist, stitching human and monster together into creepy hybrids and placing them in color-muted environments where precise lines mix with messy splatters.  Incredibly talented, Andrew is an easy-going dude who likes metal music and often ends our conversations with, “I gotta go home and draw”.  It’s this simple dedication that I admire in any artist, and Andrew has it in spades.

Jake and I visited Andrew’s sub-level studio (self-proclaimed “dungeon”) to find out what he’s all about.


Little Wolf:  Hello Andrew!

Andrew C. Wood:  Hello.

LW:  So who are your favorite artists?

AW:  Lately it’s been John Baizley, Dave McKean, Aaron Turner, and Jacob Bannon.  And a guy that goes by “Puddnhead”, but his real name is Kevin Llewelyn.  Derek Hess was also a huge influence in my early 20′s.

Andrew’s secret muse: “Kitty”.  Blurry = elusive.

LW:  You’re from Olympia, WA.  Did you go to school there?

AW:  I went to school in Seattle, at the Art Institute for two years.

LW:  What was your major there?

AW:  Animation, Art & Design.

Jake Hollomon:  Do you still do animation?

AW:  No, but I still practice their drills.  Lots of character studies, lots of thumbnails.  I took the classes for the amount of intensive drawing.

Numerous character studies from Andrew’s sketchbook.

LW:  How long have you been drawing?

AW:  I started taking it seriously when I was 16.  I met a group of friends who were graffiti artists.  I didn’t take part in the graffiti aspect, I just hung out and drew in black books and listened to music.  It was a big influence, as far as dedication goes.

LW:  What inspired this darker style?

AW:  When I was kid I was drawn to darker comic books, and in the music I listen to the visuals are dark and interesting.  The fairy tales we grew up to were also very morbid.


Andrew’s sketchbook: his very own Book of the Dead.

LW:  What do you like better, drawing monsters or humans?

AW:  Both.  I love monsters, definitely.  I like turning humans into monsters.

LW:  Who are some of the bands you’ve worked for?

AW:  I’ve done work for are Bacchus, Lord Dying, de-krep-it, Silent Epidemic, and American Wrecking Company. I also worked for Bandoppler magazine out of Seattle and they had me draw pictures of Hip Hop artists Gift of Gab, KRS-1, Mr. Lif, Paris, and Chuck D.

Old pain reliever containers are used to hold paint – perfect for traveling. Genius!

LW:  Have you done any art shows?

AW:  I had a lot of art shows in Olympia, and a couple here in Portland.  I’ve only been here a year.

LW:  Do you want to be more of a gallery artist, or would you prefer books?

An excerpt from Andrew’s portfolio book.

AW:  I’m having a hard time with that.  I like doing Illustration work, but then I miss doing larger pieces and hanging work.

JH:  Do you use any digital manipulation in your work?

AW:  I sometimes scan my drawings in and add color tones.


LW:  What is your drawing process?

AW:  I use Illustration paper.  I start with pencil, then ink and color – I use color pencil and gouache.  For  a series of paintings, I perform each step on the whole group before moving on.  The hanging pieces are mounted on foam core and framed.


LW:  Do you like making humorous pieces?

AW:  My sense of humor has been coming out in my drawings in the last few years.  I like mixing dark subjects with humor.


LW:  Tell me about your current project, the book you’re doing illustrations for.

AW:  The book is called PsyKu -  a work of forensic prose, written by Bart Abplanalp, Ph.D.  It’s a book of haikus that was first released without any drawings, but then the author hired me to make 21 Illustrations for the reissue.

LW:  Do you think Portland is a good place to establish yourself?

AW:  Oh yeah.  I think there’s a ton of opportunity here.

Andrew is currently launching his portfolio site.  Look for his work in PsyKu this coming December.


Sticks & Stones

I pulled a lot of photos for reference for the Portland Bridge piece, including this one:

I was especially drawn to this image, but I didn’t know anything about it.  Today I stumbled upon this NY Times article, and discovered the sculpture was made by artist Patrick Dougherty.


The point is, LOOK AT THIS HOUSE.  He made it, all by himself.  Mr. Dougherty is 65 now, but he began building this sticks and stones structure after he bought the land at the age of 28.  I am just a teeny bit jealous.

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To anyone that came downtown last evening and stopped by the Pony Club Gallery, thanks!  And thanks also to gallery member and artist Jennifer Parks for throwing me in so last minute.

We made the rounds and stopped by the Elizabeth Leach Gallery, one of the more “upscale” galleries downtown.  The above abstract painting wherein had sold for $16,000.  I have wandered many galleries and there are still many, many things about the fine art world that confuse/fascinate me.  Then I go home, put my blinders on, and draw the things that make me happy.


Sauvie Island & Strange Drawings

When the sun starts to drift further away and the landscape is cast in a golden light, it’s time for a trip to Sauvie Island, a picturesque farmland that in the month of October becomes the epitome of Autumn celebration.  This means hay rides, corn mazes, pumpkin patches, and farm-fresh produce.

We lugged around as much as we could carry – squash, corn, pumpkins, and a bucketful of flowers hand-picked by me.  Later we went home and cooked up a feast.

Before the low swan dive into the rain-drenched days of Winter, we bear witness to the change from one season to the next.   The trees turn Crayola yellow, orange, and red before shedding their leaves, and we are left with the barren, cloudy landscape that remains for the next eight months.  This is my favorite time of year.

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The gathering of loose lines of this strange drawing occurred quite naturally.  Charcoal shading added a few days later.

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I have received a lot of great response to my new Studio Visit feature.  Next week I will be featuring friend and fellow artist Andrew C. Wood, and I have a few more lined up.  If you, or someone you know, would like to be featured, please contact me!  maryannahoggatt@gmail.com.



Studio Visit: Brian Connolly

A short time ago I realized how many awesome Portland creatives I know. These friends have often surprised me with their unexpected talents.  Like myself, most of them work jobs unrelated to their crafts, while in their spare time they hole up in basements, garages, or studios to perform their wizardry.

I’m so inspired by the motivation, drive, and different talents of these artists, that I’d like to share their work with you through a series of studio visits I’ll be conducting with each one.

So, without further ado:



I meet all sorts of people at my “day” job, and when I met Brian, I knew him as some sort of professional dude who did stuff with computers.  Just under two years ago, he showed me some pictures of ceramics he had made.  “You made that??”, I said.  They were amazing, weird little doll part ceramics.

For my birthday that year, Brian gave me a butter dish he’d made (pictured at the beginning of this post).  It was entirely unique, and wonderfully odd – a duck that, instead of a bird head, had a delicate arm extending from its body.

A year and a half later, Brian has taken his ceramics to a level above and beyond just a simple hobby.  He’s mass producing small armies of functional dishes to great success, all from his garage.

Jake and I made a visit to his studio and picked his brain about how this all started.


Little Wolf: Where do you get the molds for your ceramics from?

Brian Connolly: I go to Craigslist. There’s a lady up in North Portland who has a ceramics business, and she was giving away a barn full of molds, and I asked if she had any doll parts.  I got a stack of forty molds for $30.


LW:  So you were looking for doll parts specifically?

BC:  Oh yeah.  I have to find things that are “cartooned” to a certain degree.  They can’t be too stylized.

Jake Hollomon: How many molds would you say you have?

BC:  I don’t know.  I never counted them, and they keep growing.  And I throw a lot away.

LW:  Didn’t you tell me a while ago that you have an Art Degree?

BC:  Yes, BFA in Ceramics.

LW:  When did you get your degree?

BC: I graduated in ’98.  I spent 6 years in college, and 3 1/2 of those at Cal State Long Beach.  A couple at Orange Coast College.

LW:  What happened?  You were laying dormant for awhile, weren’t you?

BC:  Oh yeah.  I started school with an engineering major, so I have a bit of a right brain/left brain that bounces back and forth.  The thing is, I felt like I needed to get a career; I got married.  I was like Mr. Proactive, I wanted to get my life on a roll.  That worked out for so long, then I moved on and let go of the things I thought I needed to do.  But, I really like my software career.

LW:  What was the official title of the position you were in?

BC:  Systems engineer senior professional.  I’m a web application and database developer.

LW: What do you call yourself with your ceramics?

BC: Uh, “I Make Stuff”.

LW:  Do you feel like you’re running out of space?

BC:  Yeah, I’m about to build another shelf.  I’ve gone through incremental steps of more and more shelving and space and storage, but it’s getting more efficient.  So what I do is set out the molds and I categorize them by the time it takes to cast each one, short molds and long molds.  Then, I fill these boxes.


LW:  What made you think of making practical ceramics, that can be used in the kitchen, instead of just decorative?

BC:  When I started doing ceramics, I did all functional work.  I was a potter.  And then, right around the time I went to university, I injured my hand, so I couldn’t throw on the wheel for about a year and a half.  So I had potter’s skills, but I couldn’t do anything more for a while.  Which was good, because I wanted to get more into sculpture, and it forced me to learn to speak more visually.

LW:  When did you first participate in Crafty Wonderland (a Portland fair featuring the works of local artists)?

BC:  The first Crafty show I did was last December, and that’s kinda when I started selling.

LW:  What made you want to put these on the market?

BC: Because if they can pay for themselves, I can make more.


LW: Do you plan on putting your ceramics in stores?

BC: Yeah, there is one store that I’ll put my work in – BillyGoat Vintage on Alberta, where I actually had my work hanging (wall sculptures) this last month.  And there is a pop-up shop that I can’t mention yet.


LW:  Can you explain your shadowboxes?

BC:  I’m gathering fired items and glazing them so I can do 3-D collage, like shadowboxes filled with pre-fired pieces.  Those were some of the early ideas, I actually had that idea before the butter dishes.  Sometimes when I have an idea, it takes me a good year to get there.



LW:  How much time does it take to make a batch?

BC:  It varies.  For my first sale at Crafty Wonderland, it took me about three weeks, with a day job, working nights and weekends.  80% of work I sold in about 4 hours.  For 3 weeks worth of work to go in 4 hours, that’s pretty fast.  The second show I did, it took me 8 days.  My process has cut significantly.


LW:  Can you talk about your butter dishes?

BC:  People do lack an interesting butter dish.  I don’t know where they are putting them, some people put it in a curio, or on a shelf, or sometimes, in their fridge.  I’d like to think that everyone puts it in their fridge.

Which reminds me, back before I lived in Portland, I made lots of candles every holiday.  Instead of filling them with potpourri, I’d fill them with nuts and bolts.  I had a rule – you wouldn’t get a candle the next year, unless you lit the candle you got the previous year.

I want people to use things, if they are beautiful and interesting, use them.  You’re gonna die one day, if that thing’s still around, what was the point?  I like to make things that people use.

LW: What does your mom think of your ceramics?

BC: She….appreciates my imagination.

JH:  When you were a kid, did you recombine the parts of your action figures?

BC:  Oh yeah.  Cobra Commander and whoever else, traded faces, genders, and whatever else.


To view more of Brian’s ceramics or to purchase his work, visit his website:


Thanks to Brian for participating and allowing me to invade his home, and to Jake for all his help.