Saturday, June 25, 2011

Affordable Prints

Still traveling and have too much time on my hands away from the studio.  While I am unable to adequately update my portfolio site,  I am still able to tend my aging Saatchi Online account.  Recently, Saatchi posted an offer to members allowing us to upload better quality images that they will print and mail through their own website.   While there is no substitute for seeing real analog art in person, I' have had my paintings available online for quite a while in the spirit that something is far better than nothing.   Along these lines, I think it is great that I can now offer third declension facsimiles for very little effort on my part.   As these prints are not a signed and numbered edition, they may have dubious value beyond decorative purposes.  Accordingly, I opted for the lowest pricing charge, starting at $20, to make my images affordable to anyone who wants their own humble copies on fine art paper. I hope this works out and I'll be honored to be displayed in a few more homes and offices. 

For those of you that do order, please send me a line and let me know how the quality is.  While Saatchi should be handling customer satisfaction, I will cease to participate in the program if I hear they they are doing a bad job.  Also, I have focused on presenting new work with the above exception.   If you have any favorites or requests from the archive, let me know and I'll make it available for printing .   

Sunday, June 19, 2011

Francis Bacon

Francis Bacon, Study for Head of George Dyer, 1967
I recall reading an article a couple of years back during the time of the big traveling Francis Bacon retrospective.  In it, a bunch of art stars were invited to comment on how Francis Bacon influenced their work.  I was really quite dismayed at one contemporary figurative artist, who paints distorted figures in variety of intense colors, who saw no connection between at all between Bacon's work and her own.   She never really looked at Francis Bacon.  While is certainty within the realm of possibility that a contemporary artist can be ignorant of such a big twentieth century figure, I don't think that anyone working with the figure today hasn't been touched by his influence, either subconsciously, or through second or even third generation sources.  Influence travels freely across the history of figuration, and Bacon quoted freely by many contemporary artists. Yet the issue at hand is why do I like Bacon's paintings?

Many of Bacon's paintings are horrific.   They have this tremendous, dark, looming presence.   While some may not go for his imagery, every painter should seriously consider and respect artwork that can evoke something from the viewer.  While I may not aim for overt horror in my own work, I do strive to create a sense of presence, and this phenomena is difficult to describe without sounding a little kooky.  For some, figures seem alive, but even non-image abstractions can facilitate a sensation of their being through color or scale.   The painting becomes a physical encounter with the viewer that cannot be simply translated as an image; you have to be there. In the capacity of experience, Bacon continues to act as justification for making singular, private, work in digital age.    

Official Site of the State of Francis Bacon

Bacon Wikipedia Article