- Fine Art
- About Me
I made the artwork for this poster which is available from Conscious Alliance and Sound Tribe Sector Nine this weekend (March 21/22) in Atlanta, GA. The 18″ x 24″ poster is silkscreened and the colors look great! I’m so happy to work with Conscious Alliance again. I think they do really really great work and I’m always happy to support them when I can.
Who/What are Conscious Alliance?
Conscious Allaince is a “non-profit organization committed to hunger relief and youth empowerment.” They bring in money and food donations through posters that they sell through their “Art that Feeds” program at music events. It’s a great model for a really powerful non-profit that helps to provide food to those who are in need.
It makes me really happy to be able to give of myself and give my work to causes like this that do such good work in helping others. It doesn’t stop there, though. The printer as well donates HIS time and energy and materials. The band lets them use their name for free (making it a commemorative event kind of thing) and allows them to sell the poster inside the venue – ALL FOR FREE! All donated through the various individuals involved because we all love what CA does!
Here’s a bit of what they did last year:
• Increase the value of services delivered directly in the field by 25% to a total of $603,800.
• Hosted 84 food drives nationwide
• Provided over 130,000 meals to those in need through food drives and partnerships with natural food companies
• Developed a series of artist workshops for at-risk youth designed to inspire creativity and teamwork
More here: http://www.consciousalliance.org/2013/03/a-letter-from-the-executive-director/
If you aren’t aware of the hunger problem that plagues this nation, this website is a good place to become more informed: http://feedingamerica.org/
More about Conscious Alliance can be found here:
I’d like to talk about composition.
The Rule of Thirds is, I think, the best way to consider a composition. Using this little painting for an example – take a look at where the lines intersect the painting. It almost falls perfectly into it’s respective sections. The right edge of the left third intersects the cloud opening and also the center of one archway. The left edge of the right third cuts through the column – balancing out the openings on the left. In the smaller thirds even, the small person falls in the middle third of the bottom right corner thirds. The lowest line of clouds, too, starts at the top of the bottom third of the painting and slowly drifts upwards. Between these and other details, the painting ends up falling into a nice order and feeling like a really balanced composition and ends up being more engaging and pleasing to the eye.
I didn’t measure any of this out when I painted it. I just sort of place things where they feel comfortable and natural. I think the more one practices this kind of thing the more it is a naturally occurring phenomenon on our work.
I recently did an interview with Nomos Journal – an online journal “that publishes a revolving array of material engaging the intersection between contemporary expressions of religion and popular culture.”. We talked about art, history, painting, mysticism, amongst other things… it was great. Give it a read! (*thanks, seth!)
“Would you say this in-between characterization – this dance – sort of parallels the studio-live dynamic as well?”
“Sure. The live setting helps to stretch me as well, and I certainly love to leave my hermit cave, so to speak, and go out into the world and play. So it’s good to get out, to paint live and let my brushes and paint flow in a much looser manner because then I’m so happy to be able to give myself the time and space that the much more careful paintings require. There’s a story (and I think it is in many cultures, but for this I’ll paraphrase Buddhism) where a new monk wanted to meditate, and he worked really hard at it and held himself very, very still. He fasted and prayed all the time, non-stop. The monk had been a musician, and he went to his teacher and asked why it was so hard. His teacher asked him about his stringed instrument: if the strings were too tight or too loose, you couldn’t get the right note and it could not be played. So it is the same with the practice: too loose or too tight is no good. We must find the right path between the two. As an artist, too much studio time and you lose the looseness, but too many parties and live painting, and you lose the focus. It’s the dance between the two where there is joy.”
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