starting working on a study for a new painting.
When work is slow draw a sad prospector guy on neon paper.
For and exquisite corpse project with the Brooklyn Art Library.
Where you draw a little kid launching a hellfire missile from a reaper drone.
Blatant drug art always seemed pretty lame to me, so I’ve gone through several iterations of these preliminary drawings in my sketchbook before landed on these two. It’s definitely been an internal struggle of whether I should even make these. I went through the same thing when I was working on the AR-15 painting but it ended up turning out pretty powerful.
48” didn’t seem tall enough so I jumped up
Of no one really caring about your work is it free’s you up to create stuff that will probably piss people off!
I’ve always said a sketchbook is the best weapon in an artists arsenal, this is how I use mine in the planing stage
Or something like that.
The last few pages of my Sketch Book Project before shipping it back to the Brooklyn Art Libaray! Here’s some of my favorites thus far.
new ideas in the works.
Under drawing for my first painting of 2018 - five hours deep mixing Denver from my childhood with the real celebrities.
I’ve spent more time on researching historic photos, and pouring over microfilm, than I have and actually painting. Juxtaposing Denver from my childhood with contemporary or historic images is eating up a ton of time. Hopefully the 43 percent of Colorado natives will appreciate the time and effort I’m putting into my 2018 exhibition. Here’s a few preliminary sketches but stay tuned for more weirdness and lost places of Colorado history.
Need to straighten out the angle of the door but here’s the general layout of an old Rocky Mountain News paperbox I’m working on for my 2018 show with Core New Art Space.
Pretty much every painting I do these days starts out as a quick thumbnail. Here’s one for my 2018 exhibition. The Rocky Mountain News was the morning paper here in Denver and was always the better of the two. Shout out to the Denver Native life.
Greco-roman sculpture through selective deconstruction or ish that would look bad ass in super large scale.
Started this Buffalo Bill test piece or as my great-grandfather would of called him, Bill Cody. Apparently whenever he was in Colorado he would come by the family ranch and they'd go "paint the town." Usually I'd chalk this up to family legend, but then again - I've seen letters with his signature.
Quick studies of my Bull Terrier Lola. I need to get back into the studio and start painting.
Had a chance to do some drawing downtown yesterday , trying to work out some 2018 exhibition ideas. Playing around with the idea of old Denver mixed with contemporary subjects. The first one incorporates the Terminal Annex, 15th St. Viaduct, and local graffiti over the years. the Second is a mixture of a white buffalo, the old Elitch Gardens sign, and the cross street where Elitch gardens used to be. That neighborhood has gone through such a transformation I hardly recognize it anymore.
The crazy thing about Denver, all the places where artists called home have become so desirable that for the most part we've all been forced out. Rino, Navajo, and soon the Santa Fe Arts district. The city doesn't seem to care, and for the most part neither does the public until its too late. Westword recently ran an article about artists leaving mementos on the RiNO Arts District signage in memory of the arts district. The sad thing is little do they know that the Santa Fe Arts District is the one they should be worried about. It's the only cohesive, walkable Arts District in Denver that has a mix of Commercial Galleries and Co-Ops. When Spark and CORE's leases are up in the next two years and we end up disbanded or moving it will be a huge hit to the district and spell the begining of the end of what makes that part of Denver interesting. You'll still have hippy hat stores and whatever Artwork Network is, but you won't have the high quality, thought provoking work that comes out of an anchor gallery and co-op with 36 years of continual operation.
Start with the Mobil Gas Pegasus, flesh it out some so it looks like a actual horse - then get to work on the details of making a painting.