Tag Archives: criticism

December or whatever

I’m pretty sure I left Chicago immediately after writing my last blog entry. We packed up that day and were on the road within 24 hours. We came to Jacksonville, which is mostly where we’ve been ever since.

I started work on the eight by twelve foot canvas that I had been planning since Spring. I set it up in front of Sun-Ray Cinema everyday and work on it with a table of prints set up to sell as I paint.

November turned out pretty well. After not even attempting to make any money the last two months in Chicago, I started to sell a good deal of art and am no longer in the dire financial position that I was in when I left Illinois. My emotional state improved significantly too.

December has been kind of rough so far. I stopped setting up to paint and sell quite as often so I started to make less money and I started to not feel quite as good. December’s Art Walk in Jacksonville was surprisingly bad and the rain at Art Basel pretty much fucked that up too.

I also finally had my first run-in with some idiot who wants to believe that I’m a rapist. Wallis and I were out in front of Sun-Ray and some girl walked by.

Without stopping, she asked, “Hey – didn’t you rape that girl?”

“No, I didn’t.”

“Yeah you did,” she said, by that point already a ways down the sidewalk, barely within earshot. There was no use trying to argue with her. She (and people like her) don’t care about the truth.

Though I’m not sure exactly what it is that they do care about. Condemning me does nothing to prevent violence or to aid victims/survivors of violence. It’s a showing of support for an anonymous girl that told (or at least went along with) a really disgusting lie. And it hurts me.

There are a thousand things I could write or say in an attempt to convince people that I was innocent. None of that really matters though. There are only two people in the world who really know what happened that night. And though the news stories about the alleged crime are sensationalistic and factually inaccurate, the little bit of information that is publicly available is more than enough to suggest a reasonable doubt.

If someone wants to believe that I’m a rapist in spite of that, their belief really doesn’t have anything to do with me, my actions, my character, or my history.

This isn’t really what I set out to write tonight, when I sat down to write this blog entry. I just wanted to give an update to the people that care about (or take an interest in) me.

For reasons I don’t want to discuss, I’m less comfortable disclosing the more sensitive details of my life right now. (The reasons and details have nothing to do with what I’ve just written about). Suffice to say, in the time that’s passed since my last update, I’ve experienced plenty of highs, lows, and middles, and tonight I’m just feeling very introspective and a little somber.

Here are a bunch of photographs:

piggyback
Me and the girl I love.
Wallis being adorable as fuck in her onesie / footed pajamas (the best money I've ever spent).
Wallis being adorable as fuck in her onesie / footed pajamas (the best money I’ve ever spent).
Our boy, Lukah, also lookin' pretty cute.
Our boy, Lukah, also lookin’ pretty cute.

And here are a series of photographs to show the development of my current work-in-progress. It’s the biggest thing I’ve done thus far (eight feel tall, twelve feet wide) and I’ve been at it for about a month now.

Day 2.
Day 2.
On Day 3, I decided that the canvas needed another layer of gesso, so I lost most of what I had already done.
On Day 3, I decided that the canvas needed another layer of gesso, so I lost most of what I had already done.
Inspired by Lukah's giant green eyes.
Inspired by Lukah’s giant green eyes.
I was pretty proud of myself when the cat body actually came out looking as I'd envisioned it.
I was pretty proud of myself when the cat body actually came out looking as I’d envisioned it.
All of these photos are from out front of Sun-Ray Cinema, which is where I work on this painting most days while I'm in Jacksonville.
: P.
My little buddy, Riley, helped me paint one day. I gave him his own corner and then reworked everything he painted. I'll dedicate a whole blog entry just to that later though.
My little buddy, Riley, helped me paint one day. I gave him his own corner and then reworked everything he painted. I’ll dedicate a whole blog entry just to that later though.
Here it is after I finished all of Riley's stuff (which took forever).
Here it is after I finished most of Riley’s stuff (which took forever).
Late November.
Late November.
After painting nearly everyday for two or three weeks, I don't think I painted at all in the first ten days of December. Here's a picture of the painting from Saturday night though. You can see it's almost filled out but all of the details will probably take me at least another month to finish.
After painting nearly everyday for two or three weeks, I don’t think I painted at all in the first ten days of December. Here’s a picture of the painting from Saturday night though. Even though it’s almost “filled out” some of the stuff that’s in it now will likely be covered up so – between that and all of the time I’ll spend on little details – it’s safe to say that this thing will keep me busy for at least another month.

If you’re in Jacksonville and wanna buy something, meet me, or just see how the painting is coming along, I’m out front of Sun-Ray most days from around noon ’til 10pm or so (unless it’s raining or I’m depressed or… whatever). Come say hi and then go inside and see a movie or get a pizza or something. Right now they’re playing Krampus and Room. Thursday’s the last night for Krampus and then on Friday they’re opening Guy Maddin’s The Forbidden Room and the new Star Wars movie. Oh – and on Thursday night they’re throwing a huge fucking party out back (in the parking lot behind the theater) where they’re gonna be recreating the cantina from Mos Eisley (which, for you non-nerds, is a setting from the original Star Wars movie).

Cool? Cool.

 

Shit Fits / Funny Faces

I used one of the frames I got the other day for my most CONTROVERSIAL(!) painting – Toilet Humor. When I shared a photo of that, I got one particularly succinct response: “Crap.”

One of my earliest pieces.
“Toilet Humor.”  11/10/12. My THIRD EVER non-assigned drawing or painting.

That (I think) is fair. Sort of. As a standalone image, it kinda screams, “look at me!” and (arguably) little else. I added a link to its entry on my website, with the statement I had written. That’ll clear this all up!

My critic’s response: “Still crap.”

Come on!

I guess I understand but, at that point, I no longer thought it was fair. I said as much and added that it’s clearly something I put a lot of time and thought into it. She said it’s contrived. In a sense, that’s true. It wasn’t natural; it took a lot of strain and effort, not because it was bullshit but because it’s difficult and scary to work with and write about something that’s got such potential to hurt (or at least offend). And that’s especially true when your audience is online. Truth be told, it even makes me so uncomfortable that (as tempted as I was) it took a little while to compel myself to actually re-read the statement. There’s nothing easy about “Toilet Humor.” And if it’s insulting to my critic’s intelligence (as I was also told) she must be a whole lot smarter than I am.

The point I’m really getting at [I have one, I swear!] is that, while I absolutely stand by the piece, it is worth mentioning that it’s one of my very first; is totally unlike the stuff I paint these days; and that that’s (I think) both good and bad. On the one hand, “rich kids care about politics”; I’m too caught up in my own nonsense to wanna make any kinda statement beyond my “artist’s statements,” e.g. “Today I threw an emotional shit fit and then painted a bunch of funny faces about it!” [My regular “go-to” when I wanna make fun of myself and my art. Pretty spot on, right!?]

I poke fun but that part of my process is really important to me, I’m glad I do it, and I need to do it. But the value of work like “Toilet Humor” is that it forces me outside my comfort zone and (I don’t think) that’s ever a bad thing. And I don’t mean to say that I’m tackling issues; I wasn’t off on any irrelevant/diversionary social or political rants. Like most of what I do, it’s thoroughly personal.

Which brings me to my piece from today, ”Shit Fits / Funny Faces.” (It was bound to happen sooner or later, if only because I think I’m hilarious).

"Shit Fits / Funny Faces." 12/22/13. Acrylic and spray paints, food coloring, and ink. 18x24".
“Shit Fits / Funny Faces.” 12/22/13. Acrylic and spray paints, food coloring, and ink. 18×24″.

The “shit fit” that gave rise to it had nothing to do with Toilet Humor. It takes a lot more than criticism of my art to send me into a downward spiral. That only happens when something really serious goes down. You know – like A GIRL NOT PAYING ENOUGH ATTENTION TO ME FIRST THING IN THE MORNING WHEN WE WAKE UP. Or, um, something like that anyway…

Hey, Heather! Look! I’m talking about you on my website again! JUST LIKE YOU (implied that) YOU WANTED (or at least liked?) (I think!?!)

(I love you).

—–

large canvasUp next, I have a canvas that’s more than twice as big as any other I’ve ever worked with. I got it for just thirty bucks!

  • Numbered, signed and sealed 12×16″ prints of Shit Fits / Funny Faces and Toilet Humor are both sold in my webstore.
  • For information regarding the availability of these (or any of my) originals for purchase, shoot me an email. [Update (12/24/13): Shit Fits / Funny Faces has been purchased].

Valuable Feedback

It’s Tuesday – my one day of routine. I got home from my session and my meeting and found a package waiting for me.

Rumspringer's "Staying Afloat" LP and split 7-inch with Sister Kisser. Low Culture's "Screens" cassette.
Rumspringer’s “Staying Afloat” LP and split 7-inch with Sister Kisser. Low Culture’s “Screens” cassette.

I’m pretty sure that the colored vinyl has been sold out for a good while now, which would mean that Chris (of Dirt Cult Records) sent me one of the copies he had set aside – unprompted… because he’s a sweet, wonderful human being and probably figured that it’d make me smile.

Also, I know this is silly but (even though I’m sure it has nothing to do with me) it makes me happy that Rumspringer still use my handwriting on their records, inserts, and other stuff.

Low Culture is the new(ish) band from Chris and Joe of Shang-a-Lang. “Screens” is their debut full-length (CD/LP on Dirtnap; cassette on Dead Broke) and it was produced by Mark Ryan of The Marked Men, which is a really excellent pairing for them.

Here’s a stream of the Sister Kisser / Rumspringer split as well.

And here’s the only other piece to slip through the cracks early on (like “Dear Diary.”) It’s the fourth painting in “The Weak End” series and the text says, “WHAT YOU DO IS.”

“Valuable Feedback.” 2/16/13. Acrylics, resin sand, and fabric dye on cardboard. 16½x18”.
“Valuable Feedback.” 2/16/13. Acrylics, resin sand, and fabric dye on cardboard. 16½x18”.

When I threw this online before, I just noted the title and the text in relation to lyrics from “48 Doublestack” by Rivethead (We’ve rejected what you’ve got to show for the trade-off: a life spent just waiting for orders and taking the shit from the parents, the bullies, and bosses. The fault’s no one’s but your own ’cause you couldn’t stand up and say no). Which makes me feel a little… um… redundant, in light of “Stand Up and Say No,” “Mowgli,” “Whatevermind,” and (probably) a few others that escape me at the moment.

Anyway, this was an expressive process. I played with colors and shapes, then looked to them to lead me forward. I saw this slug-type character, reclined, which brought to mind someone who (so far as I could tell) did little but recline. And criticize. And had been offering a lot of advice lately. Which has always struck me as funny: the way that thoroughly unhappy people tend to give advice.

I won’t say whom I had in mind when I made this. Only because I think the negativity that’d come with the disclosure outweighs the value of the honesty and release that I’d get from it. And I don’t want to hurt anyone’s feelings. This is, after all, a mean painting. And I was feeling mean when I made it. Because my feelings were hurt.

That’s the way it goes. Someone’s hurt. They respond with anger, to hurt the other person. Who then responds in the exact same way. It’s a sad, ridiculous cycle.

I can honestly say that I could make the disclosure (without ill will) at this point, but I can’t control whether this person would recognize that. And I’d rather not fan a flame / keep the cycle going.

—–

“The Weak End” series includes: