To Build A Canvas

     In my art adventures, painting has been one of my main focuses. I was always interested in using new surfaces to paint on. In my beginnings I had always bought canvas from the store paying whatever price they demanded and not really knowing if it was overpriced, or even good quality for my money. Over time fellow artists asked why I didn't make my own canvas. Eventually I learned how to at Cal State Bakersfield, then learned more when I worked as an artist assistant for a project by a more established artist. I have been building canvases for two years now and have made dozens of them. This particular blog will show how to build a 3'x3' canvas my way.

Supplies

     SUPPLIES: 5'x5' canvas cloth, two pieces of 1''x2''x6' lumber, staples, four 2'' screws, pint of gesso, water.

Tools

   TOOLS: sandpaper, miter box and saw, right angle ruler, measuring tape, pencil, power drill/screwdriver, hammer, staple gun, mixing container, painter's stirring stick, wide bristled paintbrush. 

Lumber

     I use 1’’X2’’X6’ white-wood from Lowes because the six foot one fits in my car. Home Depot has 1’’X2’’X8’ lumber, and they may be able to cut it down for customers but they will not cut at angles (they never help me). When choosing wood from the pile, make sure your pieces are straight. Wood tends to curl at the knots and is undesirable for building canvas. Twists might not be visible at first, but a closer glance will show twists. For this project we only need 12feet of lumber, with at least 32'' extra. It is always a good idea to have extra if something goes wrong.

Measuring Tools

     With Measuring tape and right angle ruler mark where each piece will be cut. The miter box helps ensure straight lines when cutting. Place the lumber on a cutting piece in the miter box. Clamp the lumber down so it doesn't move. The line you drew on the wood should line up with one of the cutting grooves in the box. Keep in mind, the longer your saw is, the more times the teeth on said saw will be able to cut through the wood. I prefer using a hand saw because I can stop at any time with far less fear or losing a finger... or hand. For even faster cutting use a power saw.

Miter Box, cutting piece, clamps, saw

     There will be four pieces of newly cut  lumber with inverted 45degree angles facing the same direction, each 3feet long. With the extra lumber you will cut four more pieces that are eight inches long, also with 45degree inverted corners. The small pieces will support the structure. The supports will help keep the corners at a Right Angle. Some patterns  put a support piece through the middle if it is a large canvas. 

Corner: 8'' support with two 3' pieces

     Arrange the now cut pieces the way they will fit and make sure everything will goes together straight. Staple everything in place, leaving space for the screw to pass through on each corner. I use at two inch screw for this project. 

Power drill/Screwdriver with drill bits

     Drill holes for screws to fit. Start with a smaller drill bit and work your way up to match the size of the screw being used. Screw together each corner. Only screw each corner once, making sure you have two on the top side and two on the bottom, for appearance. (The Amish way would be to nail a hole into the wood where the screw would go, remove nail, and screw with St.Phillips screwdriver.) If the wood is thicker, like a 2''X2'' thick, more screws can be used going in different directions as long as they do not touch.

Stretcher Frame

     When stretching a canvas we can do this the easy way, the hard way, or the super-hard-mega-death way. There are different kinds of canvas that have different textures and thicknesses. Pioneer Paints, in Bakersfield, sometimes has varying textures of canvas, but it is always quality for painting. Some artists use Linen as canvas, it is much thicker and preferred for larger surfaces. Fabric stores usually do not have anything titled "canvas" but you can improvise. If the canvas is wrinkled you can iron it, or if you want to get tricky, wet it before stretching.

     When cutting canvas, cut a little piece and tear the rest along the grain all the way across. Be mindful of the selvage side. The selvage side, as indicated by a pattern across the fabric/canvas on one side, is the length that comes out of a loom when the cloth is made; This will indicate which direction of the cloth is more stretchy.

Canvas

    First, see which side of the frame is smoother, because staples may stick out. Next, place canvas so it has equal space on each side of the frame. There should be at least two inches extra after wrapping. Staple from middle to one side and do this going around in a circle. With a closer look, the grain of the cloth may be visible, in which case staple evenly along that. Be sure to pull the canvas to make all sides flat. Staple on the back of the wood, not the side; Gallery Wrapped style.
      Next, staple from middle to the side in the other direction until all the sides are done, but leave room on the corners for the closing fold. (When stretching multiple times, use shorter staples first so they come out easily. The canvas can be sprayed with water between stretches to make it stiff and can be stretched more when dry.) When doing final stretches, use thicker staples so they will stay (1/2''). MAKE SURE TO LEAVE CORNERS FOR LAST. 

Folded Corner

     On the last stretch, fold the corner in Hospital-Bed style: Tuck in the flap, pull away from the side being folded on, and fold flat. Staple this in place. Make sure all corners are facing the same way on each side; ie two corners facing right, two corners facing left.

Back of Stretched Canvas

     At any time, a canvas can be removed from its stretcher, which is why I only staple the supports to the frame, not screw them (I only screw in the major pieces). Once the canvas is stretched you can begin applying gesso.

Mixing Cup, Brush, Gesso, Stirring Stick

     Gesso is used to prepare the surface to paint, when it dries you can use any medium on it (oil paint, watercolor or acrylic). Without gesso the canvas will not absorb paint. Gesso is made of chalk, glue, white pigment and water, however making it from scratch at home would be impractical. It can be like frosting a cake or painting a house, depending on how large the canvas is. The gesso I buy usually has to be thinned so it can be easily spread. It sometimes comes in other colors such as black, but may be more expensive.

     I usually use three coats of thinned gesso to cover a surface. Sand the surface between coats, or after, to make it smoother and easier to paint detail work. Be careful; over sanding may cause need for stretching again. To be sure a canvas is completely covered in gesso, hold it up to the light; if there are any tiny holes of light peeking, it needs more gesso.

 DO NOT MIX OIL BASED PAINTS WITH WATER BASED PAINTS, THEY WILL DISINTEGRATE THEN EXPLODE.

Notes:

     Remember, tools only need to be purchased once, but supplies are things you will buy much more frequently, so think about buying in bulk if you have the cash and storage space. If you are not going to build canvases often, ask a friend if you can borrow their tools. 

     Michales has gesso, and pre-made canvases for sale. Be sure to get a coupon from Michales.com or the newspaper ad for 40-50% off one item. Michaels accepts coupons on smart phones. Canvas, Stretcher Bars, and gesso can be purchased at larger Artist Supply stores like DickBlick and Utrect. Walmart has some tools available but it is only basics. Be sure to check if the dollar store has basic supplies first. 
     Building your own canvas is better when making large surfaces; however, it is impractical to make small canvases at home, such as 8''x10.''

     Also, if you were wondering, it costs me about $25 in supplies to build at 3'X3' canvas.

Yours Truly, During a Demonstration

For Further Reading:

Michaels Arts & Crafts

Pioneer Paints, Bakersfield

Dick Blick Art Supply

Utrect Art Supply (usually cheaper than Blick)


Gallery Wrapped

On Folding a Hospital Corner

how to gesso

"Fairy Tale Pharmacy"

I made an installation for a project. I call it "Fairy Tale Pharmacy." Before I talk about my work, I will first give some context. 

Detail on Fairy Tale Pharmacy

An Installation, in contemporary art, is when an artist fills a space with works or a group of objects to create an environment for the viewer to experience. These works often take much effort and thought to be shown for a short amount of time. Documentation, photos or video, of the experience ends up being necessary.

Some noteworthy installation artists are Christ Burden, Adrian Piper, Vito Acconci, Judy Chicago, Mike Kelley, and Bruce Nauman. One of my favorites, Judy Chicago, created an installation celebrating feminists throughout history. She made intricate place settings representing each woman, with a little humor. One would assume the experience for the one dining would be to eat from the plate which was a floral sculptural object.

For screen-printing class at the good ol' university I was making sets of prints for an assignment that was called "quilt." It could be any size and about any subject. My professor encouraged us to go big with our projects.When I was informed that this project had to be presented formally, I had to re-think a few ideas of how this would happen. It was all about the location. I was lucky enough to reserve the back wall of the Todd Madigan Gallery that was not being used by the current exhibit, for a couple days at least, during the end of the end of the quarter.

First, over a few weeks, I made sets of two color screen-prints of pill bottles from drawings I designed. For design purposes, I decided to use complimentary colors for bottles in relation to the words. The colors of the bags were made to evoke a feeling. 

The red and blue pills are inspired by 1999 film, The Matrix. The blue pills are the ones that make you stay in the "reality" that has been created and is accepted by most people. On white paper bags there were sets of orange bottles with the prescription sign and the word blue in the shape of pills printed on top. White paper bags are what prescription medications come in.  Also for design purposes I used the word "blu" instead of "blue," and in the other bottles, "big" instead of "large." 

'Blu'

The red pill, as the Matrix says, lets you see "how far down the rabbit hole goes." In the film, the red pill gives the reality that most people do not see. On brown paper bags there were sets of green bottles with a prescription sign and the word red in the shape of pills printed on top. Brown paper bags are what lunch come in and are sometimes used for other purposes. 

'Red'

The big and small pills are inspired by Alice in Wonderland. A bit more straightforward, big ones simply make you big. On pink and brown paper bags there were sets of yellow bottles with the same "eat me" instructions and the word big on top. I wanted the pink and green bags to look appetizing. Brown bags in this case were the "other purposes." 

Two kinds of 'Big'

The the 'Small' pills make you small. On green and brown paper bags there were sets of purple bottles with the instructions "eat me" and the word small on top.

'Small' and cookie

Inside some of the bags were goodies. The bags of 'Blu' had apples and oranges in them. The bags of 'Red' had candy in them. The bags of 'Big' had marshmallows in them. The bags of 'Small' had cookies in them.  For a quick recap listen to Jefferson Airplane's White Rabbit. Some of the song is actually about Alice in Wonderland. 

Bags with candy for "Red"

The bags were set up in five rows across the walls and floor. The highest bags were eight and a half feet up. The room was twenty six feet long by seven feet wide.

Fairy Tale Pharmacy

The idea behind the placement was if it were an abstract of a fruit tree, but machine-like, some would grow, and fall when ripe, as seen by the ones on the ground. 

'Ripe' bags with apple from 'Blu'

Some would not grow, as manifested by the blank ones; and some would rot, as manifested by the crumpled ones. Others were doubles and/or mixed adding some variety in the many otherwise similar group of bags. 

Some variations

The fruits, apples, oranges, cookies, marshmallows, candy, were found in the 'ripe' bags to be either enjoyed or left to rot. All the stages of growth were represented.

To view this piece was an experience. As the audience tried to interpret the objects in the room, I participated in the piece by picking up a bag and casually eating the contents. One bag after another. Seeing this, some of the audience took my lead and participated by consuming the contents of a bag they saw fit. Some were weary of trusting what was inside because of the connotations of the outside descriptions. Some did not care of the possible consequences of eating contents. I, half believing my intended meaning, ate one of every kind of bag so they would counteract each other, littering when I was finished. If every bag does what it is supposed to, we could potentially have control over what happens to us. The full experience was only happened the first day when my classmates viewed it; the aftermath was what remained for the next two days. 

Removing the installation

And now it is gone. The room has been documented. The bags are now artifacts. The candy is long since digested. And I get to clean up the room, or else. 

For Further Reading:

Installation: A History

Installation Art for Dummies

New Installation Artists

The Matrix (1999), Recap on the Pill

Jefferson Airplane's White Rabbit

PS. I would like to thank a friend for telling me to look at a container I use daily and used to throw away. 

Assisting Ms Weatherford.

     The way I can think of explaining this is to first think about conceptual art. Conceptual art is about the idea (concept) and manifesting that idea through whatever medium by whatever means. Through a hierarchy, based on educational merit, nepotism, a portfolio and other things, an artist gets to have assistants to help carry out his or her concept.

In history, artists’ assistants were responsible for all the little things like keeping the studio clean, or mixing the artist’s paint, and sometimes, when they were lucky, assistants were even allowed to paint some of the background, however without historical credit. The artist’s assistants do everything they can to help an artist create his or her vision. Even art professors at the good ol’ university have worked as assistants to higher up artists and may have risen up in the food chain because of it. Several professors I know worked on Chris Burden’s Metropolis II, currently showing at the Los Angeles Community Museum of Art.

Chris Burden, Metropolis II

One professor explained artist assisting as working for someone a few days a week, then having time to make your own art the rest of the week. That is sort of what happened on this project. I worked on this project, and went to class full time, then went home every night and painted; but this blog is far less about me. This winter I helped Mary Weatherford with her project for the Todd Madigan Gallery of Cal State Bakersfield.

        [Note: Because I am not accustomed to taking a camera everywhere with me and claiming to be a photographer, I have drawings I made in my sketchbook of Mary and other people who worked on this project.]

        Mary Weatherford was the visiting artist at CSUB this year. She is from Southern California. Mary’s education includes Princeton for her BA in Art History/Visual Arts; the Whitney Independent Study Program; and earned her MFA at Bard College. Then she had tons of exhibitions, both collaborative (group) and solo. Her most recent exhibits have been “Vines,” Sister and Cottage Home 2008, and “Cave at Pismo,” Brennan & Griffin Gallery 2011. She rented an apartment a month before winter quarter began to get acclimated to Bakersfield, where she would be working for five weeks.

First of all, I only joined the project by chance. I was in screen printing class, which is taught by the Gallery Director of CSUB, Joey Kotting, and he told me to checkout this class. So I went. That day Mary told the class, which was about six of us, of how she had been exploring Bakersfield and all the different things she was interested in. She had such enthusiasm in her words as she told us of her first experience with art, which was her father taking her to museums and holding her up hovering before large paintings. Mary also made it very clear that she kept her day job as an accountant, even though she is what one would consider a successful artist. This information and because she was a painter, was why I decided to join the project.

Mary painted some studies the first weekend of the project, alone. Through these small studies she was able to revise and refine her concept; but also concluded that small scale paintings would look different than the scale of painting we would build for the show. 

To make the canvases we had to assemble the custom made stretchers. These were aluminum with a wood plate for staples. That way, the whole thing is able to be broken down, with the rolled up canvas, and mailed off to be re-assembled by the owner. It was tricky work because every piece had a specific place and I don’t remember seeing any pictures of the plans; this puzzle was delicately directed by Mary.

Mary on the frame puzzle

 The canvas we used was linen from Venice, which is mush thicker than ordinary canvas I am used to. We cut pieces specifically for each of our newly assembled stretcher frames. This linen canvas would be stretched two times, which seemed crazy, but compared to another artist Mary mentioned who stretches his canvas ten times, this was okay. The gesso was a mixture of Mary's own recipe, which is different every time. To preserve what may be a trade secret, I am only going to say there was readymade Golden brand gesso and water, leaving out what other ingredients that were added.  Once she showed me her recipe, I mixed a few gallons more to use on the remaining canvases. We gesso'd the eight large canvases three coats per canvas.

Important Brushes

Brushes to spread the gesso were important as well. For the technique she showed us, which was a vigorous scrubbing method, she favored a wide brush with fairly short hairs. This process was extra tiring because the heater was on full blast to counteract the cold from the outside. I, preferring the heat, didn’t mind. 

We collaborated with the people of Center Neon, a local neon maker and distributor who is responsible for making much of the neon signs seen around town. Center Neon renovated the sign for the Fox Theater. We discussed the different types of neon that would be available and when it could be made by. The people of Center Neon were excited to work with us because they had never been able to try artistic things in their business.

Center Neon

  The plan was to make what were considered “giant beer signs,” a term to describe the circuitry the artwork would use to fit safety standards for private viewing. Mary chose the “colors” of neon, which are made up from different gasses combined with different types of glass.  Each piece of neon had to be planned out for Center Neon to fabricate for this project.  

Neon Stencils

A stencil was made for each piece out of masking tape on paper. Each line represents either an acrobatic form a gymnast can make or the impossibility of drawing a straight line by hand.  

Dan and Assistant

Our tech guy for the Art Department, Dan Slayton, constructed a wood support system to hold the neon. This had to be attached to each frame on the back and screwed through the linen canvas with minimal visibility from the front.

 A week before the show, we were informed that Mary’s long time mentor and employer, Mike Kelley, died at 59.  Mary thought it was important to have a word of mouth memory of his legacy. Mike’s style of art had more influence over her show than she originally planned. Mike’s painting is more about imagery and pop culture; color washes in the center of an empty space. Mary's work has become similar, but her work is color which represents negative space. This can be seen in her previous series of cave paintings where she painted only the light in the cave.

Mary remembering Mike Kelly

 Mike was a doer and he got things done; there was all this extra work he did as a famous artist.  Mary said that Mike was super creative and smart and she found it odd that he didn't want to live anymore. My stomach churned. This is not what a young artist wants to hear: A rich and successful artist who ends his own life. I had heard of many artists dyeing young, even some taking their own lives, but this is definitely not what I want to hear. I figured the only thing we could do right now was let her tell us about Mike and try to get what work we could get done that day to keep her mind off things.

Historical Significance of Artists to Mary

In terms of this project, Mary told us how Mike Kelley never let anyone into his studio while he was actually making his work, only before and after to assist in things like stretching or what have you.  Helping, in Mike's book, is a lot of sitting around time but being there when it is important.  Mary explained the historical significance other artists’ like Mike Kelley had on her work. “The Uncanny,” a book by Mike, was recommended.

After her first painting session, the assistants were tasked with raising and stapling each canvas on to the wall so she could see how they were coming along and analyze what, if anything, to add in paint. Normally in her personal studio she would either do this task herself or with one paid assistant, but this was a big project in such a short amount of time, so the more assistants the better. Mary said, "It’s like having twelve hands.” 

Linen stapled to walls, more to paint

I tried to help staple to the wall. I was ready to help, staple-gun in hand. I wasn’t tall enough to reach the top of the canvass, even on a step stool, and was therefore dismissed from this task. Instead I swept the floor, and later wiped down the plastic that covered the floor for the canvas to lay.

At the same time we wrote a press release and made posters to advertise the show. We had to have the Gallery's Facebook page up and running. Posters then had to be distributed around campus.  An after party was even planned by Mary. Her sister’s band from San Diego, The Shantyannes, would play at Trout’s right after the reception at the Todd Madigan Gallery.

  At this point she already named each of them and knew what kind of neon would be on them. With the now three times gesso’d and one time painted canvasses on the walls, the show appeared as if it may be already finished. There was still plenty to do. Mary added more layers of color to each painting. The team stretched the canvasses again on the frames and added the neon structures.  The team also cleaned up the gallery that had been used as a studio for weeks and make it look like a gallery once more. Walls had to be painted. I partnered up with someone to scrub the floors.

The day of opening Mary's show was mentioned in the Bakersfield Californian Newspaper. The night of the opening was a great success. The gallery was filled with people from the beginning of the lecture explaining the exhibit and Mary’s process to the end when the last of the cookies were gone. 

Mary Weatherford's Lecture next to Truxtun

The show, 'Mary Weatherford: The Bakersfield Project,' will be on display until March 9^th, 2012, in Todd Madigan Gallery, 9001 Stockdale Hwy, Bakersfield. Gallery hours are Tuesday, Wednesday and Thursday from 1-6pm, and Saturday 1-5pm. (closed Sunday, Monday, Friday). We students are taking turns sitting the Gallery for this time.

For further reading:

On Artist's Assistants

B&G Gallery

Todd Madigan Gallery

The Uncanny, by Mike Kelley
Center Neon, Bakersfield 

The Shantyannes

ps. I would like to thank my editors for helping correct this blog.

Beginnings

Part One: Greatest Hits

Classes at the good ol' university have started up again. I have SO MUCH homework due tomorrow for other classes, but I thought I'd take a break to write a blog (don't worry I have hours and hours to do my other homework). An assignment for one of the better art classes was to write about my first memorable experience with art. My response was short (only a paragraph) but I thought it would be a good idea to think about it some more and share here, because I love my readers so much (or the people who pretend to read and only look at the pictures. I KNOW WHO YOU ARE!) I am calling this my greatest hits because there were many more art experiences as a child, but for the sake of the blog (and my homework time) I kept this relitively short.

Elementary Happenings:

One of my first experiences with other people's art I remember is from reading the children's book Rainbow Fish by Marcus Pfister. The illustrations were done in watercolor, emphasis on the color. It depicted a fish who's scales were blue, purple, green and shiny colors. The fish gave away all his shiny scales so everyone could be a little shiny; a little special. This and other children's books, including but not limited to Whinnie the Pooh, and Dr. Seuss's One Fish Two Fish Red Fish Blue Fish, are things I remember drawing from. I also drew characters from cartoons and comics from the newspaper. I was not short of crayons and pencils. I remember drawing the scales of that fish; So many scales. (Half circle. half circle. half circle...)

Rainbow Fish by Marcus Pfister

Once in elementary school we were drawing trees for some reason. There were a few trees on my paper. I decided to color the trunk of one blue. If I recall correctly, the teacher told us to do whatever we want; I have since learned that that is never the case. Ms. C, we'll call her, found this completely unacceptable. She scolded me asking if I had ever seen a blue tree. I, being incredibly shy at the time, didn't have the time to answer that I had seen one on TV. She finished her own sentence, "NO, THERE ARE NO BLUE TREES." That one sure stuck.

In the fifth grade my class was drawing flowers. We used something like conte crayon or colored charcoal; I don't remember, I was a kid at the time! What I do remember is the stuff was smearable and it got all over my hands. I first drew the flower in pencil from whatever we were drawing from. The class only had a certain amount of time, and some didn't get to color theirs. I colored mine pink with yellow dots for the middle. Only one flower was required, but I decided to make one and a half, because I thought it looked better. I noticed that the chalk or charcoal, maybe it was pastel, smeared, so I went with it and made smeared on purpose to color the whole thing. Then I wrote 'alex' in purple at the bottom of the paper in cursive, because I had just learned it, with two underlines beneath it. I gave that drawing to one of my aunts. She liked it enough to matt and frame it. [she has since passed away, so now the picture resides in my studio]

Elementary School Flowers

Art Classes:

I was reluctant to take art classes, and still am, because I thought or think I know what I’m doing. Seinor year in High School, when I finally gave in, I took an art class. One previous teacher had left so I got a brand new teacher (another thing I experienced often). In Ms. N's or Ms. T's class, she changed her name while I was there, I sort of learned how to mix colors of paint. The whole class she complained about how she had no good examples from students of the assignments because the ones who did well took home their projects. At the end of class, I, being either arrogant enough or considerate enough, gave her all my assignments. I wasn't going to use it anyway because I decided I would be an artist. I saw her more recently and she was grateful for the work I left behind.

For some reason I thought it was a good idea to take a painting class at the craft store during the winter after high school, because I wasn't doing anything at the time. I was still reluctant about it because I had fiddled around with paints on my own and thought what I made was fan-tastic, even though in retrospect it wasn’t that great. The woman who usually taught that class had left to teach at a better place (or to live on a nice farm somewhere), so they had an old man come to teach the class. He was a landscape artist. The class was simply titled oil painting. I painted generic landscape over three hour long classes. From that class I got a vast knowledge of how to paint clouds.

Also, I didn't learn how to build canvasses until college. . . That's another story, so this is all you get, for now.

Part Two: Painting

Thinking about the beginning is the easy part. This already happened and I know the outcome of this period of time. It’s the here and now that gets more complex. Here is the abridged version of my beginnings of painting.

The year was 2007 and it was the summer after high school. I had only had a quarter's worth of general art lessons in high school and I decided to try my hand at making paintings of in my very own way. I had been told how colors mixed but didn't care to remember. I purchased a set of acrylic craft paint, a standard set of numbered paintbrushes, and a package of three canvass boards to work on. I even had my very own apron made of what seemed to be canvass.

In the sunshine of my backyard, I mixed colors out of the primaries: red, yellow, blue, black and white. I painted things I wasn't able to try in high school with as much paint as I wanted. I gave myself as much space as possible covering the table I was using with newspaper. I didn't have an easel because they were expensive (but that's another blog) so I either painted flat or held the canvass in my hands. This was a delightfully messy process.

Cat Painting 2007

I favored the thicker brushes over the small ones and ended up sticking to two or three at a time. The great thing about it was I didn't have to paint for anyone. There were no assignments to paint flowers. I could make things abstract. They didn’t have to stand for anything. Looking back, I would consider paintings like this a beautiful stutter before learning to speak. (Abstracts can be greater than what I started with, but these days I’m learning a language of color and figures and forms. Maybe one day I can go back to abstraction, but not now.)

I worked on this surgery painting from sun up to sun down one summer day, then for a few more hours with the porch light on. It was based on a dream I had. I was going completely off memory/imagination. I didn't know much about faces at the time. Nobody wanted to sit for me to draw them, so I generally avoided faces. I worked on how the light should have come from the source, shown in the painting. It was a clown doctor with green hair. I modeled his hand after my own and his lamp after my own and imagined the light. I used odd colors to indicate that it was MY painting. (If you’re into having things the color they really are, that’s your business, not mine.) I am glad I worked so hard on it, my first “study” and am even gladder I kept the darn thing long. I get a kick out of looking at it now. Studies are important, you know.

Dream 2007

After that I had decided to paint on anything and everything. I painted on Christmas wrapping paper. I painted on cardboard. Real canvass was scarce because I didn't have the cash for it and I had no idea how to make it myself. I painted with my fingers, mixing directly on the surface I was using. I came up with so many colors and didn't care exactly how I got them. Everything was by chance. Everything was intuition. Everything was a delightful mess. (I have since learned reasons for things and am working on the cleanliness part as well, although there’s nothing like paint on your hands.)

Oriental Sunset 2007

It was a great feeling. No one else I knew could or wanted to pick up a paintbrush. No one else I knew could create. Sure, there were people in my life who used to make art; people who used to draw but didn't anymore. (My Dad even drew a bit in college, although I don't recall him drawing much in my lifetime. Let’s not speculate on that.) There are plenty of legitimate reasons artists have to stop creating. I have no intention to stop.

For me, painting was freedom and I loved it. I still do. These days I live and breathe art. I wake up to it every morning and yell at it to leave me alone at night so I can sleep. Back then it was hobby-like, but its importance grew. I’m so glad it did. Of course I wasn’t thinking of that when I started, it was just for fun back then.