It has been a long time since I have drawn much with colored pencils- many decades as a matter of fact. But the youngest of my kids love to draw with them and we have been spending time drawing together in the evenings. There are many levels of joy in rediscovering the accessibility and immediacy of colored pencils with my children.
A Show of Drawings at the Bank Artspace in Matfield Green, Kansas.
Opening Reception Saturday August 11 from 4 to 6 pm
I recently completed work on the handmade certificate of authenticity for Mule Resophonic Guitars, shipping him the first Batch this past week. I hope you enjoy the finished piece and a few photos of the printing process.
Usually the prints I make are deeply personal illustrations of my heart, vision and journey. From the early days printmaking has been, to me, a form of prayer, offering up to the Father layers of concern and expression of things I do not often fully comprehend. Within that context is a platform to explore the visualization of spiritual concepts, revelations and principles- basically a blundering effort to make the unseen seen on some level. I wonder that I am taken up with making a “graven image” and how that settles with the second commandment (Exodus 20 verse 4 if you are interested). Hopefully, what I am making are objects that are doors or windows that might lead one into worship, certainly they are far from worshipful in themselves. I take comfort that the Merciful One will ultimately be the judge of my heart on this one.
These images here, are a divergence in a way, in that, they are the mixture of my expression and visual language with the story and purpose of two other entities. The first of those is Matt Eich of Mule Resophonic Guitars. He has been building these beautifully crafted and, by all accounts, almost magically sounding guitars for five years now. The resulting print will be the certificate of authenticity that will be presented with every instrument that he sells. Matt is passionate about story and building rich relationships with his customers, and he invests personal expression into every instrument. His sense of story has been woven together with mine here, I hope.
On a technical level, I am always in an attempt to push myself past where I was before in my work. It may only be in a way that is visible to my own eye. With printmaking I compose a design and I wonder if I will be able to pull it off- if the level of detail will translate as a small mammal, or a vine, or a bird- or just a confused tangle of ink. Many times it has resulted in the confused tangle. This print for Matt has tons of this risk built into the design, and I think his spirit has elevated me, because I somehow feel a door has been unlocked. Of course, I really won’t know until the ink hits the paper- but there is hope that these tiny branches will be able to speak.
The second entity is the musical trio Sister Sinjin. My good friend Elizabeth Duffy is part of this group of women who sing devotedly to the glory and love of God. This image from this block will become the cover art for their upcoming record. The contemplative spirit of their music really seems to offer a counterpoint to the industrious detail of the print I’m making for Matt. I’ve noticed and appreciated the contrast as I have been working back and forth between these two blocks. The quite offering of the woman and the persistent labor of the plowman. Both have offered a lot of opportunity to grow and develop and express, and I am grateful. There are many photographs of the carving process below, which is still underway in both cases, though I am nearly done with the Sister Sinjin block.
The completion of a painting generally means a decision to stop working on it, otherwise the cycle would never end. This painting, which was begun in October of 2009 reached that generally unheralded milestone of “completion” this fall, 6 years later. Technically, the work is not entirely done, as I have yet to build the frame for it, which, especially for my panel paintings, represent a significant part of the presentation and outer composition. I hope share some of the meaning behind this painting at some future date.
at the BaumWerk Etsy StoreDear friends, I thank you for all of your kind words and interest regarding this new print of the Living Tree. I am grateful that it seems to have struck a chord with many of you. A number of you have made inquiries into when and if prints would be available to purchase. As of Friday, a limited number (there will be more as I continue to print the edition) have been listed on my ETSY store. I am selling these first fifteen for $125, after that the price will increase to $150. Click here to go to the listing. Please read more below for some details about the print, and thank you again for your support!
The image itself is 12″ wide and 22 1/2″ tall and is printed on French’s 100# Butcher Off White Dur-o-tone paper, which is 18″ wide and 25″ tall. French’s paper is American made in Niles Michigan.The edition will be 1oo prints, which is the biggest edition I have ever made. Every single print is hand made by me on my Wepplo etching press in my Rose Hill, Kansas workshop. The print is made using three linoleum blocks, as a composite image. It took me over a year to design and carve the image into the blocks (although I was doing lots of other things during that year, besides carving linoleum).Many hours of painstaking carving went into creating all of the details in The Living Tree.The Tree and it’s roots are loaded with life, like this little owl. There are many spiritual and natural beliefs and dreams symbolically represented in this print. There are many things which I see and believe about who my God is, and also things which I strive to cultivate in my life and stewardship on the land. I don’t have many words as a companion for this image just yet, but perhaps in the future I may try to lay out those ideas for those who are interested.
Nigh on two years ago I received an email from Elizabeth Duffy, a writer from Indiana, wanting to ask me a few questions about my art for her blog at Patheos. She sent questions and I sent back my answers. It went on for three or four months like that, and trust was built. In the end she shared our interview in four parts on her blog. Meanwhile Elizabeth felt the fruit of our dialogue merited a wider audience, and she went in quest. Image Journal took the bet, and Elizabeth went to work.
I owe a debt to Elizabeth, but not necessarily for publishing an article about me in a magazine, although, that too is cool, and I expect that the measure of artistic validation it lends me is not insignificant. It is for her time and her witness that I am grateful, it is for her trustworthiness. I suspect most artists wonder, like me, if all the labor and turmoil that goes into making art, which purports to have emerged from a deep place in the created heart, is not the dead end of futility that it so often seems to be. I know at least that it matters to Elizabeth, so much so that she built a soap box and voiced it to as large an audience as she could muster. More sacred, she proved her trust with those treasures in my heart which I was able to share with her. That carries weight. Thank you Elizabeth. You came along side me and we plowed together. We even made the cover.
With genuine authenticity (I know it’s redundant) and authentic hunger, Elizabeth writes for a variety of different outlets, including Image Journal’s blog, Good Letters. The best place to start and catch most of it, is at her personal blog.