Keirartworks's Blog

hmmm. hmmm? Observations, actions and connection points through art.

You too can own a painting

Leave a comment

Ah, the ever-changing dynamics of the ecosystem shared by Art and the Internet.  This has come up in every peer conversation, every artist statement, proposal and grant application I’ve written this month.  Think I’ll write an essay about it & post it here.

But this is not my purpose right now.  I’ve been doing some house cleaning on my blog site, and noticed to my dismay that there is no post devoted to the sale of my paintings.  This is an incredible thing. When asked about my current explorations as a visual artist, how can I send people here if they need to dig through seven years of musings just to find out what is available for purchase?

Good grief.

Here it is, then.  The November 27, 2015 post of all paintings currently available from my studio (work from 2001 to last week).  To see past work that’s sold, surf through the gallery to the right of this post.  There you will find photo reference, promo shots and visual art from the past 15+ years.  Eventually I will dig up the older digital archives that go back to 1975, but for now we shall celebrate the present moment!  Each piece is published under the title of the show it was in, with reference to blog process work, or a brief description.

Please note the distortion in size – an internet specialty.  Some of these pieces are quite large, and those are the ones that appear smaller.  The smallest also appears to be the largest.  If you’d like a studio tour of these so you can see them in person, come on over to the open house on December 5 (10-4, Saturday, third floor collective at 1190 2nd Avenue East [enter through 2nd Ave. door), or write to me at keirartworks@gmail.com  – I’d be happy to set up a time to show them.

Anyone interested in owning any of these pieces should also know that I LOVE instalment payments, even over a year. Really – I just love them.

Enjoy.

The Bells that Still Can Ring (Studio Tour and Bean Cellar, December 2015)

This is work in progress as of now.  Check out the posts in the menu bar under “Art” for concept & research.

Bell1, 2015, 20" x 24", mixed media (acrylic) on canvas. $598.00

Bell1, 2015, 20″ x 24″, mixed media (acrylic, cello A string & mistyfuse) on canvas. $598.00.  SOLD December 2015

Bells_Tinklefinal

Bells#5: Little Bells, 2016 24″ x 24″, acrylic and mixed media on canvas. $490.00

#Selfie (June 2014) – see posts under Art for concept – this was a social media show as well.

From #Selfie (2014). 'Masks' - 84" x 36"; mixed media on canvas; $3,250.00

From #Selfie (2014). ‘Masks’ – 84″ x 36″; mixed media on canvas; $3,250.00

"White", 2014, 30"x30", acrylic. inverse image of me on white indian cotton. $1,125.00

“White”, 2014, 30″x30″, acrylic. inverse image of me on white indian cotton. $1,125.00 (this is currently on display at Santa Fe Gallery in Owen Sound)

ThrowbackFinalforGallery

“Throwback”, 2014, 60″x60″, Acrylic on a piece of artist’s canvas (I’d used as a housepainting drop sheet for 15 years). $2,950.00

"Surrender", 24 inch round, acrylic on canvas, $750.

“Surrender”, 24 inch round, acrylic on canvas, $750.

Instagram, 49" x 41.5", Acrylic on red linen, $1,150.00

Instagram, 49″ x 41.5″, Acrylic on red linen, $1,150.00

Five Paintings at The River (January 2014)

"Teacup", 2014, 38" x 51", mixed media (acrylic) on canvas. $1,250.00

“Teacup”, 2014, 38″ x 51″, mixed media (acrylic) on canvas. $1,950.00

Shovel / Axe (diptych), 2014. 2 x 28" x 82", acrylic and fabric on canvas. $3,250.00 together. I can sell them separately (though that would be a shame), for $1,750.00 each

Shovel / Axe (diptych), 2014. 2 x 28″ x 82″, acrylic and fabric on canvas. $3,250.00 together. I can sell them separately (though that would be a shame), for $1,750.00 each

Chalk Horse, 2014; 48"sq, acrylic and mixed media on canvas. I wrote two blogs about the process of this painting called "Letting Go". Not sold; $1,850.00

Chalk Horse, 2014; 48″sq, acrylic and mixed media on canvas. I wrote two blogs about the process of this painting called “Letting Go”.  $1,850.00 (currently part of the group show, “Kunderbunt” at Durham Art Gallery (Nov 28, ’15 to Jan 24, ’16)

What Makes Us (2004)

Manitoulin, 2004. 60" x 70", mixed media Acrylic on canvas. $3,150.00

Manitoulin, 2004. 60″ x 70″, mixed media Acrylic on canvas. $3,150.00

Sea Hear (2001)

"Waves", 2001, 36" x 54", mixed media acrylic on canvas. $850.00

“Waves”, 2001, 36″ x 54″, mixed media acrylic on canvas. $850.00

TPII400

This gallery contains 11 photos


Leave a comment

#Selfie 17: new moon

It’s been a week since the morning after #Selfie’s opening at Gallery de Boer.  That was such a profoundly good time, rich with love and excellence, risk and joy.  We all of us had about an inch of air beneath our feet as we walked through the space and played together on the roof afterwards.  That felt so good I’ve barely touched the ground since.  Thank you thank you to the 150 and more people who agreed to meet in that space & do marvelous things.  To Ron de Boer, Sarah, Jean and everyone at the gallery who jumped on the #Selfie train and rode it, screaming around corners to the station.  Deep deep gratitude especially to my incredibles who held centre:  david sereda, Coco Love Alcorn, Larry Jensen and Kristan Anderson.  That was fine fine work.

playing in photoshop- me layered & floating between two shots of the same painting.

playing in photoshop- me layered & floating between two shots of the same painting.  I’m frowning because I’m not awake yet- this is about 6am…

#Selfie work continues.  I am compiling the oceans of material I’ve collected from social media, written response pieces, research and documentation of my own process into a book, which is coming along nicely.  We hope to have this published and available by the third week of July – write to me here if you’d like a copy or two.  I’ll keep everyone informed about how that project is progressing.  I’d also like to put a couple of new pieces in before the show comes down on August 1 – they are whispering in the back of my mind, and would like to be manifest.  We’ll see how that goes.

An 'out take' from the last #Selfie shoot before the show.

An ‘out take’ from the last #Selfie shoot before the show.

Much has occurred between last friday and today – a noon-hour concert with david sereda in a church with wonderful resonance, a gathering of friends to move me from country to town, a reclaiming of things I’ve not seen for ten months, a sort and file.  I’ve been especially challenged by the process of coming back to normal sleep patterns – by 19th June I’d become accustomed to a 3-hour sleep then work then sleep then work out routine, like some subterranean sleep cycle experiment.  Mostly back now, but that was interesting.  It got the work done, though, and perhaps more importantly it put me in a place where I was open to imagery and resonance beyond what was immediately obvious.  Love that edge.

Me loving the edge.

Me loving the edge.

Cello is calling me to practise this morning – I have two solo gigs this weekend, and need to build that stamina back.  Wonderful.
Life is incredibly, marvelously rich.

more coming, too.


Leave a comment

#Selfie 11 – Truth beneath the truth

This drawing took about 2.5 hours.  I erased most of the right-hand side...

This drawing took about 2.5 hours. I erased most of the right-hand side…

I’m at the stage of production for this show that’s the most intense on all levels – emotional, psychological, mental and physical.  Each piece has its’ own trajectory and arc, and I work in collaboration with this.

re-building the idea...

re-building the idea…

There are sixteen different painting ‘trajectories’ to define and follow to completion –  in 22 days –  if I’m to make my deadline of June 13.

And I shall.

One key tool I use to get this work done in a short timeframe is composite studies.  This one is a layered mock-up of the painting built from bits of the selfies posted on social media in the past six weeks.  It's about the way we build our faces before we take ourselves into the public.  Masks like filters.

One key tool I use to get this work done in a short time frame is composite studies. This one is a layered mock-up of the painting built from bits of the selfies posted on social media in the past six weeks. It’s about the way we build our faces before we take ourselves into the public. Masks like filters.

I’ve done it before, though not with pieces this large – but hey, it’s good to add a challenge each time.   Everyone has a process, or a road to completion, and mine requires utter surrender to the moment I’m in, the mark I’m making, and the reason why.  I need to meet myself again and again in all my joy and ugliness, take off all the filters and tell the truth.  Then the truth beneath the truth.

‘Clarity’ gains whole new levels of meaning.  It becomes something I can taste.

the same painting the next day with things removed and re-added differently.

the same painting with corrected drawing.  Today I will work with washes to push and pull the images, and knock the whole thing back so the final drawn images can sit on a top layer.  They should appear to float in front of the painting…

There are still bank lineups, lessons and rehearsals, concerts, meetings and phone conversations.  These are more interesting than usual, since my self-observation has become so finely tuned.  The filters I use to get simple tasks done are much more obvious to me, and I know when they’re slipping…. it’s not always appropriate to discuss the psychological effects of spring green when sunlight hits it just so with the person behind the counter who just wants you to pay for your gas.

More soberly – not everyone wants to hear a bald truth, no matter how comfortable I might be with my clarity.  Nine times out of ten it’s better to say it with paint.

#Selfie_ProductionMay20

Next up: #Selfie4: Negative/Positive – 5 feet wide by six feet tall. Should be done in 3 days… or so…

Creativity is like willing oneself into madness – the kind necessary to make something interesting out of wood, canvas, paint, charcoal and …. perception, imagination, intuition, rage, hope, love….  all that.

Just nod and smile.  Or better yet, come on over & jump in to an underpainting – I’ll provide the oil pastel & canvas.  Mind the lack of filters, though…

I’m loving this.


3 Comments

#Selfie 4: inside out

I honestly don’t have a clue what I look like from the outside.  Or- I have clues, from friends (hopefully most honest, but still undeniably subject to mood changes & emotional wellbeing), family (often distorted by… family), men who have been drinking in bars (predictable), random encounters with strangers…  and more recently in my Selfie pilgrimage… mirrors, photographs, & video that’s been initiated and shot of me by me.

Aside from those hints and clues I live my life looking out of this face, so there’s absolutely NO way I can say:  I look like this.

Buzz Aldritch on the moon in 1966 - perhaps the pinnacle of Selfies, brought to my attention be James Keelaghan, singer-songwriter extraordinaire and our insightful & resourceful AD at Summerfolk in Owen Sound (thanks James)

Buzz Aldrin (thanks MV) on the moon in 1966 – perhaps the pinnacle of Selfies, brought to my attention by James Keelaghan, singer-songwriter extraordinaire and our insightful & resourceful AD at Summerfolk in Owen Sound (thanks James)

 

So here’s what I think today:  our visual image is always and only subjective.  It’s Always about where we are, what we are doing, how we feel, what we feel… endless facets, all capable of changing and shaping the configurations of muscles on our face, and the way the light hits them.

So what makes a Selfie a good selfie?  Authenticity?

I think so, Buzz.  I do think so.

A quick shot of my left hand & shoulder from a mirror in Feb.

A quick shot of my left hand & shoulder from a mirror in Feb.

Awkward shot of my Right hand in a mirror for reference, Feb.  Music stands work as a matte black ground...

Awkward shot of my Right hand in a mirror for reference, Feb. Music stands work as a matte black ground…

 

singing, now....

drawing (anatomy mistakes in the RH knuckle – now fixed)

this morning by 9:30am.  Includes a heretical symbol for the wings of enlightenment, used by a printer in the 13th century to signal gnostic pilgrims that the way was safe...

this morning by 9:30am. Includes a heretical symbol for the wings of enlightenment, used by a printer in the 13th century to signal gnostic pilgrims that the way was safe…

3pm today.  It has since transformed again...

3pm today. It has since transformed again…

 

What’s my point?

We create an image of ourselves that is constantly changing; we are constantly changing.  There is no true constant image when viewed from the outside.

Maybe there is from the inside, though.

A working theory.


Leave a comment

#Selfie post 2

This show project has turned into a kind of Selfie Pilgrimage for me.  I must say, my initial resistance has been a challenge to overcome – I DO so resist, especially when reading articles like this one by James Franco (The Meanings of the Selfie, New York Times, December 2013)  who rationalizes his recently acquired selfie habit thus,

a well-stocked collection of selfies seems to get attention.  …hell, it’s what everyone wants: attention. Attention is power.

Maybe for James Franco it’s power, but I truly don’t think that’s at the core of our collective behaviour.

I do not own a cell phone, so use a Rebel.  Sure enough, even when I'm the one taking the picture of me I close my eyes to make myself invisible.  Not squirming, I think.

I do not own a cell phone, so use a Rebel. Sure enough, even when I’m the one taking the picture of me I close my eyes to make myself invisible. Not squirming, I think.

So I dig and write and paint, and read.  This morning I woke to a kind of epiphany about what could be at the root of Selfie on social media.  Here’s a journal excerpt, which will likely end up in the show booklet in some form,

Selfies have steadily been on the increase since the first use of the term (Australia) in 2002 & became universal in 2012.  Oxford English Dictionary made the term it’s “word of the year” in 2013.  Could this be a barometer for the increasing divide between people because of a kind of culturally cultivated distrust of intimacy?  We are also experiencing the increasing dissolution of traditional forms of relationship and partnership – both personally and with the institutions we once trusted (govt, banks, corporations), which may have created a vaccuum at the personal level.  Maybe these cultural shifts have also changed the questions we’re asking ourselves on a personal level…

The question ‘who am I’, has traditionally been answered in the past by describing how you are related to something or someone, “Peter’s wife; Katie’s Mother; Richard’s Teacher; Jim’s Daughter; Sarah’s Boss; Paul’s Friend”, or even by what you do professionally, which is a different form of relationship “A cellist; an artist; a bus driver; an author; a councillor; a conductor, a mechanic; a carpenter”.

It’s a different question in social media circles.

“I got ‘Unicorn’!, which mythical  creature are you?”

Round one.  Always an indication of how the fight will go.  I need to make it to twenty....

Round one. Always an indication of how the fight will go. I need to make it to twenty….

This answers a question for me about why I’m painting my own hands in interaction.  I think #Selfie behavior could be an examination of our relationship with ourselves.

Each time a selfie is posted it tells a truth, shows a piece of soul, offers a clue, and a question:  “who am I?”  or with chronic selfie posters, “who am I, now?” But what does that question actually mean?  How can we Be separate and distinct from our interactions  – with partners, kids, colleagues, parents, friends, job?

So, for me, my hands.  They are my job, my form of expression, an amplification of my speech, a means of articulation.  They represent two sides of my engagement with the world and my work – my dominant right hand is skilled, trained in the finely tuned crafts of drawing and using a cello bow.  I can write with it – it knows letters and words.  It’s often TOO skilled, too trained for a task I want to complete – a drawing that is direct and raw; the ability to touch an object and feel it’s shape and texture without interference from what is ‘known’.  My left hand is more honest, therefore, and I rely upon it to take me places that can change my mind and my perspective.

Together they are erotic, aggressive, tender, bewildered, compassionate, protected, open or closed to experience.  I see them and work with them much much more than I see and work with my face.  Here’s what Larry Jensen wrote in response to the first hand selfie I posted.  I so love this, L:

blurred names & avatars for privacy reasons...

blurred names & avatars for privacy reasons…

And so the 12-week journey begins, with James Franco, the Oxford English, a Unicorn, Larry Jensen, and some squirming.

yep, squirming.  eyes open means you can see me.  Here we go....

Yep, squirming. eyes open means you can see me. Here we go….


Leave a comment

#Selfie 1: Right then.

Leafs and St Louis Blues are skating like mad 2.5 feet above my head, with a soundtrack announcer who could clearly like the Leafs to tie it up & stay in the game.  2nd period, 13 minutes to go.

Blues just scored

Blues just scored

I’m writing in a local bar so I can get some distance from the #Selfie project that so dominates my studio.  I’m having a very good time digging in to define with paint, music and written language what it is about selfies that I find so abrasive.  It’s difficult to admit to intolerance, but I do.  I admit it with the caveat that I GET it:  if I’m intolerant, I’d better damn well be prepared to dig in and articulate exactly WHY I so resist and revile the selfie. By producing and publishing my own. Ow.

ikes...

As an artist I believe I am required to identify and explore my own intolerances.  To work with what is abrasive and uncomfortable.

One of the St. Louis Blue’s players is pounding the hell out of a Toronto player.

I couldn't be less interested.

I couldn’t be less interested.  This is not the same as intolerance.

Many indigenous peoples have felt, when faced with the cameras of apparently benign foreigners (some Mayans still refuse to have their image copied and used by anyone), that a photo contains part of the soul of the person photographed.  Mississipi artist James W. Bailey believes this too, and addresses his internal conflict this way:

I hold a religious belief, probably inherited from my paternal Mississippi grandmother, who was 1/4 Choctaw Indian, and who was extremely distrustful of photography, that photography, more than any other art form, has the ability to capture a living element of life, a flashpoint of the soul if you will. …  When such photographic images are taken, the only thing the photographer can do to make the universe right with what he or she has done is to place the photograph, which I believe to be a living organism, into a context of positive growth….

The great photographers, whether they know it or not, are photographers who have taken stolen elements of life and have placed those living substances into a context where the photographically captured life force has been encouraged toward positive growth.

Are we as careful with our own images of ourselves as he is on our behalf?

Are we as careful with our own images of ourselves as he is on our behalf?

So in I go, straight to the coarse sandpaper. My rules so far are these: 1. I work with and publish only images I take by myself of myself. 2. I publish each one first on social media before I use it in painting, writing or song. 3. I include whatever the response is in the work that develops.  Including zero response. 4. I ask everyone I know what they think of the selfies phenomenon. 5. Be unfailingly honest and up front about whatever vulnerability I feel throughout the whole process.

Show opens in June, in Owen Sound.  It will include performance art, music, and a small hand-made book which will document the process of building it.  I’m also booking it into a tour – through galleries, highschools, colleges & universities, museums & clubs. I’ll keep you posted.

hmmm.

hmmm.