There’s always a shift when I start searching for something new to make, but most of the time, it comes back to observational drawing & painting. It’s a comfortable place to get some interpretive ideas happening and also keep skills in a semblance of shape.
It’s one of our oldest art traditions, and therefore a bit primal. Drawing or painting the things you see links a kinship to those earliest artists drawing bison and horses in the dark.
There’s a focus and feeling of connection that nothing else can boast. Even though first sketches are often crude, pieces of them have power.
The thumbnails I usually put at the top of these posts turned into a series of connected works recently. I started giving them titles, and the imagery I saw in them made me think of folk tales or myths. I called them New American Mythology along that line of thinking, imagining each image could be part of a larger set of stories that remake the world in their telling.
It’s pretentious as hell, of course. But I tend to gravitate to such grand scales, and I decided to run with it, for now.
But it’s clear to me that most of them are about conflict, and danger, and skullduggery—to be perfectly pirate about it. These are elements I see prominently in the corridors of power at the moment, in government, business, and in people. And one’s feelings tend to come through in one’s work.
I’m hoping I’ll feel like making more hopeful, generous, and open-feeling work next year. Counterpoints to the negatives we see around us are always useful.
News and social media can wear you down. There’s nothing for it but to step back a bit, or completely, if you can. Unless you’re a journalist, there’s not much point in staying up-to-the-minute on the relentless news cycle. You have things to do. This is good right here, a real slowdown for the mind: The Last Ambient Hero
What I haven’t done much, here, is talk about what I’m doing. I think—and feel, double emphasis there—that the thumbnail doodles at the top of many posts aren’t really an indicator of ongoing process tracking, so there should be some balance to the endless advice and prescriptive know-hows I seem to have in endless supply.
One of the things I’m working on—s l o w w w l y y—is a series of 11 small paintings I pledged to people over a year ago. Be fair, year-and-a-half.
It’s a bit strange to go back and forth from analog to digital. Some things are easier in physical media: texture, random surprises, depth, the subtle wonder of a unique object. Some things are harder: development time, corrections—oh for an ‘undo’ when I smear or put too much of something on a canvas—and precision.
Here’s hoping I won’t be too much longer finishing and can finally notch off this project and start the next.
About the Author
Marcus is a maker of things and thoughts. He currently resides in Portland, Oregon.