The summer of the chicken

This is the summer of the chicken. I mentioned working on this topic in early spring for our town's 'What's Hatching in Brandon?' event. Now I'm working on a chicken sculpture for the Framers Market gallery show opening next week. (I also made a farmer on a tractor to mix it up a bit.)  This summer is just flying by. PZGJTBEDD679

Chicken made from scratch  ©robinrkent

Chicken with makeup     ©robinrkent

Bastille Day and much more

This day is not only important to France and Francophiles, in my smaller world, it's my cousin's birthday also.

'Frenchy'         assemblage        ©robinrkent     

Many friends and relatives were born on similarly significant days. I wonder if others, like me, think such a high percentage unusual.

My birthday was just an ordinary day. But it still could become noteworthy.
Maybe in the future, it will mark the day we're able to view all the colors in the spectrum. Or fly under our own physical power. Or communicate telepathically.
Perhaps it will mark another occasion the whole world celebrates. (I already have a friend born January 1st).

Can you add an additional note to the day you were born? (Not that it isn't already special enough...)

Happy birthday, Jim.

Folk Art Diary: The Texture Behind The Paint

This is the third Folk Art Diary post on 'Robin's Elements of Art'

I like what texture does. It gives both a tactile and visual thrill. The tactile sense is a side benefit while creating the visual. Most classical painters enjoy the 'bouncy give' between brush and canvas. Feeling brush vibrations while scumbling (scrubbing for you folk art types) as I paint over rough cut planks is an additional sensation. Sometimes the process emits a sound if a really rough board (think jug band washboard effect). 

'Tumble Home'      Acrylic on Rough Wood          ©robin r kent

The visual effect on a layered surface is somewhat harder to  control. And a good thing it is. Especially when allowing an under-painted color to show through, blending and altering the top layer. Pretty amazing stuff, even for the painter. The  more you try this, of course, the more control over the outcome.
Pastel artists, when painting on sandpaper, use the tactile/texture theory in smaller scale (manicure multitasking?). Graffiti artists, I imagine, must love seeing a stucco building.

Folk Art Diary: A Focus

When viewing my own or any painting, my first response is always 'Where do I focus?' How is the composition organized? Did the artist's paint brush play traffic cop?
Not that all paintings have to have a focus. One thing I love about 'art' is it should be malleable enough to break all assumptions. Keeping it from being a science.

'Summer Shower' acrylic on barn boards ©robinrkent

Sometimes a painting's focus can be an only child: simple, quiet, and clean; or surrounded by a tribe of secondary and tertiary siblings: clamoring but supportive.
Most times I don't want to be confused on where to start. Searching where the strength lies. Where the initial wow factor emanates. Just show me. Life is tough enough.
Other times I need the search. Like a mystery novel, unwinding clues, finding the main thread, sitting back and seeing how it came together. The aha factor. I appreciate getting there.
The focus of this painting is obvious. It's simplistic and busy with lots of elements to look at. This is as detailed as I ever get. Maybe a little much, but some gardeners would approve: more is never enough.

Folk Art Diary: Reading My Art Through A Squinty Eye

There are a few points I try to accomplish when working on a painting or assemblage. When I've nailed them (figuratively speaking), I'm done. Here's the first in yet another series of how to read my art:

'Sainted Mother' assemblage w/shadowbox ©robinrkent

After I get a rough drawing in place, I analyze my light to dark palette. Not only for color, but for tones and shades as well. This is done using squinty eyes. There is something to be said for bad glasses (or eyesight). It takes out all the details (good riddance in my opinion) and leaves the foundation exposed.
Everyone should buy a pair of glasses with the wrong prescription if you're not lucky enough to have bad eyes of your own.
Anyway...
As much as I like bright colors, toned down versions are the best. I don't use a true 'red' in my palette. I like a rust-red better.  This might be due to my nod to folk art.
I try to keep my colors well rounded to include a balance so the image doesn't read all warm, or cool, or dark or light...
Stay tuned for part 2 next week. I'm on a 'Robin's Elements of (Art) Style' roll now, or to paraphrase a favorite musician, Leo Kottke, I'm going to take a lovely simple (painting technique) and drive it into the ground...

My House as Muse

I finished my acrylic fish painting to go with the two fish assemblages for my downstairs bath (May 5th post). But I'm not sure it works in this space. It might belong in a gallery, even though it is what I had envisioned. The room is just too small: 6 x 8' for such a relatively big painting: 22.5 x 26.5".
   

'Catching Fish'  Acrylic on Canvas   ©robinrkent

Here it is on the bathroom wall.

Maybe primping in a mirror a la Picasso's 'Girl Before A Mirror' might be a better subject...will give that a try.
I didn't know I'd come up with so many painting options for a bathroom wall.



I just moved my treadmill to a closet-sized nook: Marathon runners for that area might be good.

My next body of work could turn into: 'From Bath to Basement: Painting Inspirations From The Rooms of My House.'  We'll see.

Graphic Designer As Painter

As a young child I was mesmerized by my Mother's Stangl pottery. The living room's Caucasian rug would entertain me for hours. My eyes would follow the lines and angles under pared down compositions typical in folk art designs. I was a fan. I didn't know it would be a life calling.

Early design inspirations: Stangl & 40's textiles      ©robinrkent

In a former life, I was a graphic designer. That term covers much: Art Director for a lifestyle magazine, Paste-up Artist (rubber cement, anyone?), A Stripper in prepress, Advertising Layout Artist. The thread was the graphic part of graphic design.
It continues to influence me.  It was such an early hands on education. I hope my artwork reflects that charisma today.