Saturday, October 1, 2011

San Francisco Art Institute, 2002-2003

With classmates at the beginning of  our MFA Program

Giving an art talk to be followed by a critique

Figure Emerging with Circle
Mixed Media on Paper, 2002

Study of Wave Trap Spiracles
Graphite on Paper, 2002

Mixed Media on Paper, 2003
Enjoying a night out on the town with fellow classmates

Mixed Media on Paper, 2003
My work hung and ready for an exhibit and critique
Relaxing with fellow artists at a North Beach cafe

Taking a quick break in my studio on the SFAI campus 

At work in my studio on an abstract painting

My studio at the San Francisco Art Institute

Teachers: Pegan Brooke, Stephanie Ellis, Jamie Brunson
Directed Study: Christoper Brown, Mark Perlman

Curvilinear Paintings and Drawings, 2003-2010

Diagnosis II: Crumbling Castles
Acrylic on Canvas, 2010

Augury I
Mixed Media on Paper, 2007
Mixed Media on Paper, 2007

Gathering Clouds
Mixed Media on Paper, 2007
Dots, Lines, and Dashes
Mixed Media on Paper, 2007
Curvilinear with Bird
Mixed Media on Paper, 2007
Mixed Media on Paper, 2007
Sleeping Woman
Mixed Media on Paper, 2007

Augury II
Mixed Media on Paper, 2007

Why this inclination towards the curvilinear in my work? After my parents passed away I began learning more about my ancestry and realized my Celtic roots might have something to do with it. Frank Delaney in The Celts describes Celtic art in the following, "the deepest basis of Celtic art grew from a primordial dependence upon the natural life experienced in the emergent Europe north of the Alps, east of, and along the Danube Valley - or, come to that, in the sloping fields of what is now Herfordshire, or Northumbria, or Wicklow. The early motifs showed great consistency of pattern, geometric, angular shapes, concentric circles, whorls, lozenges, revolving spirals, chevrons, cross-hatched repeating patterns - mechanical, auto-suggested means of filling a blank space on a pot. Later, the images of small creatures begin to materialise, swans, ducks horses: on the lid of a Hallstatt bucket, a goat, a sphinx, a lion, a the Greeks a spiral is a spiral and a face is a face and it is always clear where the one ends and the other begins, whereas the Celts 'see' the faces 'into' the spirals or tendrils."

Wikipedia paraphrase - Like nature itself, Celtic art abhorred a straight line, pushed organic influences - observed in trees, plants, water, the earth - to deliciously abstracted infinity. In Celtic art there is no beginning, no middle, no end as it ultimately becomes its own inner world through freedom of movement.