JOHN SPEIER
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​Fine Art & Philosophy

Travel as Reframing

12/29/2021

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So I'm visiting Montana for the first time since the Pandemic Horse shit started. Overstimulating begins to describe how I feel. I kept the window on the plane closed because I don't want tot see what I'm about crash into. Plus it was mega fucking bright out. And I should mention at this point IM autistic in case you are new to who I am. And.... Several of you haven't seen me just talk about it. Autism is something I've masked for decades to fit in. 

When I have or experience big changes in my life like travel, I end up with a flood like experience that needs to be unpacked and processed in some way. I used to do this all the time with the blog, but whatever. 

I have synesthesia and am sensitive to most stimulus and generally seek them out. This is typical autistic behavior. I'm sitting in a coffee shop right now absorbing many sounds. I'm on a swivel chair too which is nice to swing back and forth like a child. They know what's up. 

So anyway I do a lot of Stimming (look it up) when I'm in new situations or stressed or anxious or whatever. Its just the way I interact with the world and deal with all my inputs. I have to "put" them somewhere or internalize them in my body. I'm trying to listen more to the people who have stayed in contact with me, in consistently healthy ways over the years. I try to learn something from everyone I talk to at this point. Life is too short to miss the lesson you learn from exploring how you are different from someone else.  

So I've been spending the last several days adjusting to myself in a new environment. Other things that help... pulling my own hair or playing with it.. Its a pressure thing. Loud music is also helpful at calming me. Basically I have to manage my sensory input on a high and hyper vigilant way. Always on. The euphoria I get from my Various Sensory experiences is nice but it wears me out being high all the time on endorphins. 

I've met a few other Aspys like this (look up aspy) and as I get older its more intense because I'm more aware of it and how I'm affected specifically. And all the different social dynamics of Montana V. Denver. That's a whole other set of blog posts.  This is an information dump. Little more. 
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Recent Work

11/11/2020

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Drawings/Paintings 2020

Abusive Language. Collage 2020 

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Secondary Considerations

7/17/2018

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Pronghorn Antelope. 2x4ft. Oil on Canvas
Any time you make art, you face constraints. These are either externally given and imposed on you or chosen for whatever reason. Invariably I am constrained to a greater or lesser degree by things like the dimensions of my surface, the shape and size of my brushes and the paint colors I have. To the extent that I have experience with color mixing and persistence in doing so I can mitigate many problems presented by a limited number of starting colors. 

I often realize that a particular color scheme resonates with the scene/subject I intend to paint. In this case, the more I worked, the more it occured to me that a secondary color scheme predominated the landscape and Pronghorn. At that point I began to lean toward a more limited palette. This meant using more greens, purples and oranges and trying not to use as many blues, yellows and reds. You will find primary touches here and there, but overall I tried to limit my color choice, in the same way a musician choses a particular key. 

I took the photo I worked from for this painting in late December last year. Yellowstone was blanketed with snow at that point, which meant I would have lots of "whites" in this painting. If you look carefully enough and give your eyes time, you'll see that most "whites" are really subtle pastels. This is because white objects almost always reflect colored light from somewhere, which is why most shadows on snow are blue. They are reflecting the sky. In some cases I painted the snow to represent this phenomenon, in others, I exaggerated the coloration of the plant life in the back ground to create a tension with the colors of the Pronghorn. By doing this the foreground and background compete spatially, which helps with the illusion of depth. 

Finally I have a bad habit of making "tonal" paintings, which means being too literal when I try to recreate color. When I try too hard to color match what I see in a photograph, my colors tend to have one "volume." This means that because I have mixed them to the degree that they lack their original intensity, none really sing out. Alternatively, not mixing colors (literally or spatially in terms of mark placement) the painting will be "loud" all over, like music turned up all the way. In light of these twin realizations, I try to incorporate a range of color intensities in my paintings. For example if you look at the back of the Pronghorn you'll see intense red-oranges juxtaposed with larger areas of darker earthy reds. Of course my more vibrant intense marks didn't show up in the photograph, but then I'm not trying to recreate that experience in its totality. This painting preserves something essential about that original scene but also gives you something new and imaginative to consider. 
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Environmental Justice

7/12/2018

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Environmental Justice is a natural extension of social justice insofar as we have to confront the reality that our choices affect an environment we all share. Buckminster Fuller said we are all astronauts aboard “spaceship earth,” and there's no way to take this other than literally. All we need and have and will be able to use for existence is confined to this pale blue dot (to borrow a phrase from Carl Sagan). Earth is no different than the “spaceships” we send out of our atmosphere. We don’t go to space, we’re in space. Resources have to be recycled constantly, they’re finite. Earth systems are superbly suited to this task and our best efforts only approximate this grandeur and efficiency on the tiniest scale.

Because we are connected in the macrosystem that is Earth, all of our actions have moral import on an ecological scale. For example, city planning often affects the disadvantaged and minority classes in disproportionately negative ways. African Americans in cities are often exposed to much higher levels of lead than others and urban areas are often the sites of toxic waste dumps and incinerators. Someone has to answer for these environmental injustices. Often the corporations that perpetuate these crimes against community go unpunished.

The only just use of resource sand interaction with our environment is one that remembers that we are all responsible to each other and in community on  a global scale. Environmental justice extends the concept of neighbor to those across and around the globe. In a very real sense, we are all one. The artworks that follow are meant to stimulate reflection on whether you are interacting in just ways with your world and neighbors, human and other.
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Bighorn Sheep, 4x5 feet. Charcoal on Paper
Our attention is often brought to animals (or other organisms) that are threatened using images of iconic megafauna (big animals). Interestingly, before humans had even established agriculture 12,000 years ago “we” drove nearly half of Earth’s megafauna to extinction. Consider for example the ancient Giant Sloth. We don’t see them around anymore and “natural” environmental changes aren’t to blame. Bighorn sheep aren’t especially threatened but illustrate how one notable and highly visible species can redirect our focus to how our actions as a species can and does disrupt ecosystem balance, often endangering innumerable creatures. These large beasts help us imagine a romanticized nature somehow different and disconnected from our domesticated existence and in so doing appeal to us at a heart level to be concerned for species other than our own.
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Europe. The End of the Earth. Ink and wash on watercolor paper. 4x5 feet.
Colonialism and Imperialism were born in and emanated out of Europe. Europeans envisioned themselves as entitled to hoard and amass wealth, material and otherwise from all over the globe. Technological advances during and after the “age of exploration” allowed Earth’s natural and human resources to be exploited at exponentially increasing rates (even the term “human resource has built into it the notion that humans are mere exploitable economic entities). Thus began an era of mass global injustice, a course that needs correction and redirection. This will require the will of collective humanity if we are to avert global environmental disaster.
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Bio-Annulation. Graphite on Paper. 3x3 feet.
Roughly 200 rings (I did my best to count). Hundreds of chances to consider the passage of time and growth of the largest organisms on Earth. Tress stand as “witnesses” to the passage of human action and history. Sadly trees this size are rare because of unsustainable human practices. The are seen as mere material to be exploited and consumed. What if anything, do we owe our plant neighbors? How does their treatment lead to just or unjust future for later generations of all kinds.
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December 30th, 2017

12/30/2017

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Self portrait with a Turban.

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My most recent portrait is in the style of Jan van Eyck. It's a very diminutive work and the composition is simple. The head sort of floats in the dark and the red turban is vibrant against the black back-ground. While painting this I was reminded of the scarcity of blues in paintings over 200-300 years old (the master work that inspired me was painted in 1433). Reds and blacks were plentiful though, mostly in the form of Earth Oxides. I am lucky to have Cadmium at my disposal for reds. The black I used is Chromatic black, a mixture of green and red pigments.

This is the first portrait I've painted using oil in the last 13 years or so, and in those past portraits my marks were more loose and spontaneous. With this work I wanted a more polished, finished look, like that of Northern-Renaissance painters. I had been using Gouache and acrylic for my smaller portrait work lately, due to the easy clean-up and quick dry time, usually painting using glazes. By using Gamblin's alkyd-based oils I was able to blend the brush strokes and produce gentler textures. I was really encouraged by the experience of doing a portrait this way and will most likely paint most future portraits with oil. I have yet to make a frame for this picture. I'll get some moldings from the local hardware store and try to recreate something like the frame on the van Eyck original. I did something similar in my last portrait, where I tried to recreate the frame on a recently auctioned Da vinci.

Painting a master copy always comes with many lessons. Trying to re-create something in the style of another artist teaches you about composition, color mixing, and breeds appreciation for the work of others. It's also empowering to complete a decent approximation of what's considered a masterpiece. After each picture I complete, I get more ambitious. The hardest part of any painting for me is having the patience to study the original/source material through drawing and actually working through the revision process that is painting itself. If I settle for my first attempt at a picture, I'm usually being dishonest with myself and sacrificing quality. Painting really is laborious if done right.

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Nulla Salus

12/20/2017

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Nulla Salus (Savior of None) Gouache and Acrylic on panel, 11x15 inches)

I have a lot of fun imitating things. From an early age I enjoyed doing impressions of TV personalities and cartoon characters. There's something about pretending I'm something else that's always appealed to me. Painting for me has always also been a species of pretend and imitation. My recent work in iconography is a prime example of this. 

Though this painting isn't an icon, its very much in the spirit of my earlier icon paintings. Its an exercise in seeing myself "as" someone else. In this case, my painting is patterned after Leonardo da Vinci's Salvator Mundi (savior of the world). Though of course I'm a savior of none, I nevertheless wanted to attempt an imitation of Leonardo's work, though of course it would fall short in a number of ways.

Leonardo's painting is notable not only for its formal qualities but because it recently sold for about $450 million, the most any painting has fetched at auction. I hope to get about a millionth of that price for my rendition. We'll see.

This painting was full of challenges and setbacks. The most apparent to me was the difficulty of painting a face, my own in this instance. Because we're so familiar with faces, we're keenly aware when our representation isn't true to reality. Its easier to get away with generalized mountains, but the faces we paint betray their differences with the real thing immediately. Consequently, I had to repaint the face of this work maybe four times. Each time I lied to myself and said it was good enough, but I could only live this tension so long. I'm ok with how the final likeness turned out.

Another interesting aspect of this imitation, was making the frame, which involved several steps and a whole Sunday. I simply applied moldings from Lowe's to a Rectangular piece of plywood to mimic the original frame. Then I painted the whole thing black and added details in gold. It was important to me to reproduce the frame details with as much fidelity as I could muster. I couldn't put any old frame on this painting. The imitation was incomplete without the mimicry of the frame to give the painting context. The project in total took about 10 hours.

Gouache is nice and quick to work with, but I think my next imitation/meditation will be in oil.

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Bigger than yourself

11/13/2017

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Carly, seated. 4x5 feet, Charcoal on Paper

Many an art student will relate to drawing on 8.5x11" printer paper. In high school, you might get a 9x12" sketch book from your teacher in Art 3. This increased space is a new world to be explored and an expansion of boundaries. One's limits are still there, just greater in extent. Still more do you feel your limits increased in college when you move on to the 18x24" drawing pad. More revolutionary still is cutting your own paper to size from a roll. We tend to adjust to and accept our limits as conditions of existence.

Working large reminds me that I have a body and with that body comes a range of motions. My recent involvement in our Agape performing arts show reinforced the possibly performative and definitely dance-like aspects of drawing on the human scale.

Drawing large is the best way to work. By large I mean drawing in a way that one can be sympathetic to the range of human movement involved. What is so satisfying about working on a drawing that is five feet wide, is that it echoes my embodiment in the world. I have to face the constraints of my existence in space, I have to feel my own weight, experience the fatigue in my shoulders as I make marks repeatedly over the span of my reach.

When you draw "large" you have to be honest about your physicality and limits. If I want to do a drawing that is seven feet tall and 14 feet wide, I'll be covering a lot of ground before its over. I'll have to stoop to reach the bottom and reach to address the top of the composition. I'll  burn copious calories. My movements will multiply on the level of individual rotations of limb at joint to become compound, synergistic marks.

In a "large" drawing, marks become a reflection of an intimate hypothetical exploration of a space. This exploration is recorded in something so simple, and primitive as carbon. Wood reduced to it's fundamental, elemental existence.

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Zion National Park

7/23/2017

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PictureZion National Park, Oil on Panel 2x4 feet.
Zion is was one of my favorite parks to visit this summer. There are plenty of places to go hiking and for me the geologic history is fascinating. Each layer of rock tells a story of past conditions and events. The whole park is a record of Earth's history and one can still see the forces in action today that formed the topography over tens of thousands of years. 

This location really lends itself to representation with a complementary color scheme. The greens and reds of the scenery play off each other nicely and contribute to the overall vibrancy of the composition. 

Not only do green and red complement each other visually, there is a geochemical/biological connection in nature between the two. These two colors are intimately related in that the green chlorophyll of the plants makes photosynthesis possible, which itself produces oxygen as one of its products. This atmospheric component was/is responsible for rusting the Iron that went into the rocks we find all over Zion. These rocks tell us a history of ancient climate/atmospheric conditions and indirectly tell us what life was like on Earth so long ago.  

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Wild-Life and Color-Schemes

7/23/2017

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Bighorn Sheep 18x22" Oil on Canvas
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Driving through Yellowstone, one is almost guaranteed to see several kinds of large mammals. I've seen Grizzly Bears, Black Bears, Bison and Elk all from the road. On one occasion I was fortunate enough to snap a few pictures of Big-Horn Sheep, which are imposing and impressive in many ways. These creatures have a large set of horns made for running into things. Plenty of reason to keep your distance. Luckily we saw them from the car about 100 feet off the road. 

One of the challenges you face in painting Wildlife and Landscape in the West, is communicating colors in interesting ways. For this painting I chose to increase the vibrancy of the colors from the photo. The source colors for this composition were rather dull, but lent themselves to complementary & split-complementary color schemes.

Yellow and violet are complements on the color wheel and on either side of yellow are green and orange. Adjacent to violet are red-violet and blue-violets. These opposing colors harmonize really well with each other helped me by placing constraints on my color choice. Using a color scheme and limiting one's choices like this is analogous to composing music in a particular key or selecting certain chords to create the effect. Cool purples, blues and greens tend to recede in this painting while warmer oranges and yellows provide contrast and move forward visually. 

I once again used my preferred medium of Gamblin Fast-Matte Oil to paint this picture. After about three days of drying I will protect the work with Krylon UV-blocking Gloss varnish, which is easily removed. 

Prints of this work are available Here. 


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El's Clay at Terakedis Gallery, Billings MT

7/18/2017

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Recently, my El's Clay colleague Maribel and I, performed at the Terakedis Gallery in downtown Billings. Our show consisted of three hours of live dance and drawing (see the short clip below). This type of venue/performance was a first for us. Our last show consisted of both drawing and dance, but not simultaneously, so we both learned a lot. 

Several visitors stopped in over the course of the evening and many paused outside the gallery window to look in. One of our goals as an organization is to bring attention to the Billings Art Scene and this performance succeeded in that respect. There are many creative people in our city and they often go unnoticed. By putting on performances like this we hope to connect more people with art and artists and build a richer sense of community. 

I ended up completing three more-or-less life-sized drawings (see below) while Maribel danced. Periodically she paused for extended poses so I could work on the composition. Each drawing is about 4x5 feet in size. I had not drawn for this kind of extended period since college, so I was reminded of how taxing it can be. Maribel was tired as well, but remained graceful and energetic through the end. She definitely worked harder than me and is truly a professional dancer. 

The next El's Clay event will be at the First Congregational Church UCC in Billings on August 4th as part of the Billings Artwalk. We will have live poetry readings, drawing and dance at this event as well as information about El's Clay. This event will run from approx 5:30 to 9 pm with refreshments provided . We hope to see you there. 

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Re-imagined

5/9/2017

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David Foster Wallace, After Bacon's Pope Innocent X, after Velasquez. Charcoal on paper, 42x60"
I've always thought it's important to revisit things. Feelings, subjects, themes etc. Especially when it comes to my creative process. The riches of a subject are rarely exhausted by one visit or experience. We as viewers/creators change as well, which guarantees a novel encounter with the other. We never really see the same thing twice. If what we see has a soul, then we never see it with our eyes. We see an ever changing body and presumably don't encounter a soul unchanged by it's own experience the second time around. If I see a mountain one minute it is changed the next instant. It has gained parts or lost them. In light of this, is there anything that ensures the continuity of such a mountain? Is there an essence to such things? 

My most recent act of re-visitation was my drawing of DFW above, inspired by two classic works below. Velasquez executed the painting below on the left around 1650. It is of Pope Innocent X. Later, Francis Bacon, a 20th century painter, copied this master-work in his own grotesque and evocative style, seen below to the right. I learned about both of these works/artists in college. I became and remain an admirer of both and now find myself situated in an artistic lineage wherein the younger artist pays homage to the earlier by reinterpreting his work. That's what I've tried to do in my drawing. In creating this work, I honor both Bacon and Velasquez and keep my memory of David Foster Wallace alive.


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Large Bison

5/8/2017

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Buffalo, Large Version. 27x48" Oil on Panel
After painting a small (6x12") version of this composition (see my earlier post) I decided to scale things up a bit. I chose to stay with the double-square format, so I could bring attention to both the Bison and field vegetation. I had a piece of plywood handy, which was about 2x4 feet, so I primed it and set to work. I used a combination of cadmium red light acrylic, mixed with clear acrylic gesso, to provide the ground, then began blocking in large areas of color (see time-lapse below). 
The main difference between this and the earlier smaller bison, is the size of mark I used. On this scale I intentionally use larger brushwork, it just makes more sense in the context. In the same way, I used larger charcoal a while back to draw my large Tetons picture (seen here). The resulting larger Bison has a stronger presence, not just because of the increased size, but the increased color exploration I can do in that space. The smaller Bison painting was a study, because it forced me to look at the subject for a prolonged period of time and get acquainted with the colors and composition. When I painted this larger version I didn't really refer back to the smaller one. I re-examined the picture I was working from and tried to see more detail the second time around. The result was that I found more colors in the big painting. It's not necessarily a better painting, but it is different.

I framed this with a simple oak frame, mitered at the corners. The plywood I painted on is dimensionally stable and will not warp. On future panels, I'll use thinner plywood, maybe 1/4 thick to minimize weight, as plywood can get heavy and be an obstacle to hanging the picture. This work is currently at the Art House Cinema and Pub, in downtown Billings. 
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Nature, Up Close

4/19/2017

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Buffalo, Oil on Panel 6.5x12 inches.
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     If you're hiking in Yellowstone, you shouldn't approach certain animals, especially Buffalo. But sometimes, they put themselves right in your way and you stumble upon them suddenly. This is what happened to me last October while hiking in the backcountry. My two friends and I had to go off trail to avoid this bull. Behind him were numerous others in his herd and he seemed to be standing watch. It was obvious that we weren't going to use that section of trail so we quietly scrambled up a nearby hill to avoid being gored or trampled.

     I took the photo above about 30ft away and was pretty nervous as we crept by. We had one more similar meeting with a Buffalo on a later hike. It's surprisingly easy to miss something so big as you crest a hill, but it happens and reminds you that you can't let your guard down that far from civilization. Luckily we didn't have any bear encounters during our time in Yellowstone, though there was no shortage of bear tracks and scat. Healthy reminders. 

     A few days ago, I decided to work from this photo and experiment with some recently acquired oil paint. Traditional oil paint takes several days to dry, unless you add dryers and mediums to it. I purchased Gamblin's trial set of their Fast-Matte colors because I wanted the working qualities and open time of oil without the days of waiting. The difference with this paint is that it's composed of both oil and alkyd resin, which explains the quick dry times. The Paint also dries to a matte finish, so it must be coated with gloss varnish  if you want saturated looking colors.

​      I was very pleased with how this painting turned out in terms of working qualities of the materials and the formal elements of the painting. My first paint layers were dry and ready to be worked on top of after one day. By day three I was finished with this picture and able to varnish on day 4. This pace was very satisfying and I can see that this paint is going to open some creative doors for me. My next project will be a larger version of this same composition. The larger scale will create a very different experience of the Buffalo, and further enrich my appreciation for this creature. 

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Revisiting the Tetons: The Value of Iteration.

4/1/2017

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Tetons, Charcoal on Paper, 42x84 inches.
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I can't overstate the importance of reworking an image (and while I'm at it,re-imagining work). This is the time and context in which we rethink and re-examine what we're doing. Re-visiting an image forces us to confront the prejudices we bring to the experience of translating a scene into a shareable medium. This experience has a strong analogue in daily life. It's of at least equal value to regularly examine how we experience, think about and inhabit the world.

Having long ago come to terms with being an artist, I realize how iteration fits into my everyday life. Each day presents me with opportunities to relive the ordinary and be-in-the-world differently. My most recent series of drawings is no exception to this. One of the most compelling and moving sights is the Teton Mountains in Wyoming. They are fault-block mountains and rise dramatically from the valley floor. I've visited the mountains several times and on my last visit took several photos of the range one very cold morning. 

My first step on this project was a smaller drawing, 8.5x24 inches. The second was larger, 30x44 inches. Finally I scaled up the image to an imposing 42x84 inches (7 feet wide). This is one of the larger drawings I've done and in so doing, I was reminded of how important scale is. The effect of working large is that the visual presence of the source scenery is retained.  A larger format requires different marks and mark making devices. As a result I resorted to a 2x6" inch piece of specialty charcoal from Nitram. This stick of charcoal was reminiscent of smaller vine charcoal in terms of texture and pigment darkness. It didn't give the darkest blacks, but was very good for initial expressive layout marks (See Video at the end of the post).

Surprisingly, each of the three drawings took about two hours. This was a very satisfying series to complete and I now have works that can fit into a variety of display spaces. I'm also left with a deeper appreciation for the sublimity of the Tetons. 


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Snape/Alan Rickman Icon 

2/12/2017

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              Last year, I was struck by the tragedy of Alan Rickman's death. It was especially poignant because he died on my birthday, January 14, 2016. Rickman was always one of my favorite actors. He was unique and I found myself enamored with his characters, no matter the role. Rickman was the perfect actor to play Professor Snape. Sinister, mysterious and subtly endearing. I thought it appropriate to honor him and his work in my most recent Icon painting.
                   This painting is gouache (or opaque watercolor) on an ampersand panel. The dimensions are 12x16 inches. Like every painting I do, I learn something about the medium and myself. This time I learned that my fears are more often than not, irrational and unfounded. I put this painting off for a few weeks because I didn't think I could pull it off successfully. But in the end I was pleased with my work.
                  From a materials point of view, I learned that varnish can be removed if it needs to be. I found this out by applying varnish to the finished painting only to be really disappointed with the texture it left. I had used spray varnish before but not this particular brand. So I got an unpleasant pebbly surface and thought I'd ruined the painting.
                 After watching a few videos on youtube on varnish removal, I was confident I could repair my over-application. I used mineral spirits and clean cotton cloths and was able to remove the varnish and respray this morning. I got the results I wanted and can move on to framing the piece. Big sigh of relieve.
                   With each Icon I paint, I want to help others remember the work of important people.

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Gene Wilder Icon 

11/16/2016

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I was devastated when I heard of Gene Wilder's death. As a child I watched Willy Wonka and the Chocolate Factory more times than I can remember. So much of my sense of humor was shaped by Gene in retrospect. He was dry, clever and witty. When I heard about his death that day I remembered him by listening to Pure Imagination

This painting is the third icon I've made. My first was a self portrait as a saint, and my second, larger painting was of the author David Foster Wallace (blog post to come on that one). This one of Gene Wilder as Willy Wonka is 16x20 inches, painted with gouache on an Ampersand Gesso-board. 
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Standing for Something

10/30/2016

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Well, so I thought I'd take some more graduate classes this fall. But I didn't. But, before I decided I wasn't going to, I did make up my mind that I needed a good place to read. Lately I've found sitting on the couch less than comfortable when reading. Last summer I did quite a bit of reading from a window sill, that is I had the book set in the window about chest height. It was more comfortable than sitting. So, facing the prospect of reading hours upon hours in Neuroscience and Origin of Life research, I thought I'd build a piece that made it easy to read while standing.

I didn't want a podium or a desk, We have tables to sit at already, so this hybrid piece is what I came up with. Given the number of books in my reading rotation at any given time I needed more than a place to read, so I incorporated some storage space into the design. Originally I thought I'd have a shelf below the reading surface, but scratched that idea, realizing it would prevent me from standing close. My storage solution was a hinged lid that could hold extra books, pens etc. and closes flat if I need that kind of surface.

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Like many projects I've done, I made this piece from Walnut and Curly Maple for both beauty and durability. Maple is pretty hard, which makes it a good writing surface, and the curly figure is nice to look at. The Walnut provides a perfect, dark contrast to the light Maple. As per usual I used mortise and tenon construction to attach the legs and stretchers and finished the piece with polyurethane.
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I-cons

7/1/2016

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I've wanted to paint an icon for some time and two days ago decided such an endeavor would be a good use of my evening. This painting is 9x12 inches on an Ampersand panel. I painted it using Acrylic. It was a good chance to see which of my twelve year old tubes I need to throw out. I've always like acrylic paint for its fast dry time, which allows me to paint in quick glazes. I use a hair-dryer to accelerate drying time. Finally acrylic is way easier to clean up than oil. 


The genre of Iconography is an interesting one. Google Icons, and you'll get to choose between Byzantine, Orthodox, Russian, pre-Renaissance etc. The appeal and significance of Icons spans many cultures. Typically reserved for venerating saints and religiously significant individuals, I took this occasion to paint an Icon as self portrait. The only veneration I wanted to do was by way of the book I'm holding in the painting, which is a copy of David Foster Wallace's Infinite Jest. It happens to be my favorite novel, and he my favorite author of fiction and nonfiction. I omitted the lettering from the cover to avoid being overly anachronistic. I wanted this work to be stylistically similar to icons of old. 

In terms of style, what you'll notice about Icons is a flatness typical of pre-Renaissance paintings, which stand out historically for their increased use of chiaroscuro, or the use of light and dark to model the roundness of the human form. Icons certainly use contrasts of light and dark, but not to the same degree of increased three-dimensionality.

One significant point of departure from ancient or historic iconography was my use of acrylic paint. Acrylic paints were developed less than one hundred years ago, whereas icons would have first been painted with egg tempera, which was a combination of ground pigments and egg yolk (perhaps a few other ingredients). This medium pre-dated and was supplanted by oil paint as the dominant medium around the Renaissance, but has been used by artists to the present day, especially by modern Iconographers who work in the traditional way.

​Another difference in terms of materials is the absence of gold leaf in my painting. I just used gold acrylic as opposed to gently applying layers of gold. I think the effect is still pretty true to form. Gold can be risky to use in paintings because it can look gimmicky or gaudy. In icons however, gold serves to focus our view and lend an other-worldly air to figures and lend a precious valuable quality. 

I plan to do more Icons soon, possibly one of David Foster Wallace himself. Given the rich historical associations that accompany iconography, I think it appropriate to explore the genre as a means to celebrate "saints" of our own generation, such as writers, artists and those who are special to us. Painting an icon becomes a meditation on the individual and in the case of self-portraiture, introspection. 

A Slideshow of my process

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Wooden Opposition

6/26/2016

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A cross grain situation can be disastrous. Gluing two boards of perpendicular grain orientation together will almost certainly lead to the piece of furniture tearing itself apart. Wood moves after all. Even though the tree died long ago, the board behaves and reacts to changes in humidity. If two boards don't move in concert and harmony, one will most likely crack or the joint fail. 

Paradoxically, this cross-grain situation is required by the bread-board end on this coffee table. A bread-board end is a mortised board that receives the tenon on the end of the table top. The perpendicular boards can only be secured with a small amount of glue and importantly, wood dowels, which have to be able to move with the changes in the wood. In essence the dowels keep the maple end pieces from sliding off the walnut, but allow the walnut to expand and contract width-wise. Even though the grain situation is one of opposition, the bread-board allows one to wrap a table top with a contrasting wood. 

For this table, I chose contrasting walnut and curly maple. At first the color difference is most stark. Fresh-cut walnut is darkest and it mellows to a honey brown with time. Similarly, maple is lightest when cut, then deepens to a warm gold. The curly maple's holographic shimmer is caused by wood fibers that undulate through the board like waves. This can be seen in the walnut in places too. Unique to one walnut board in this table, is quilted figure, which can be thought of as two sets of waves through the walnut, traveling perpendicular to each other. Quilting in walnut is especially rare and this is the first time I've incorporated it into a project.  

The structure of wood dictates how it's best worked and if you ignore it, you invite struggle. To plane a board by hand the "wrong way" leads to unsupported wood fibers being ripped from the surface, leaving rough pits. The board teaches you a profound and painful lesson when you resist it's nature. Wood's strength is also its weakness. The properties that allow a house to be built of boards also let you split logs with a wedge. Once you understand the structure of the grain, and you read it correctly, you can exploit this essence and plane or chisel with ease. Anticipating wood's qualities can make carpentry a joy. 


Most furniture construction culminates with the finish. Wood is strong and durable naturally, but not nearly as water resistant as I'd like. Polyurethane, oils and other finishes provide a barrier between the wood and everyday use that would damage it. A finish also brings a depth to the wood that doesn't naturally occur. Another paradox is that something of the wood is revealed, only when it's covered. 


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Painting, 5 Months Later

6/15/2016

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I hadn't painted in 5 months or so, then I picked up oil again for the first time in about 8 years. I found myself reliving (and reviling) the technical challenges and frustrations that go with it. But a challenge isn't always a bad thing. Most of these works are 8x10 to 16x20 inches, and the last one in the slide show is a pastel I did in 30 minutes at school one day.

It's easy to forget how important creating is until after a period of "inactivity" (in-other-activity) I make something again and am conscious of the thing taking shape before me. Be it painting, collage, drawing or printmaking, I have a need to do this. The idea of forgetting you have a need is strange, but it happens to me. I need to create visual art like I need to be a teacher. I forget my love for them both until I'm thrown in again. I enjoy the time away but I'm drawn back again, inevitably.

Both teaching and painting help me understand what's going on inside. They are both ways to reach people and hopefully change them for the better. I know each novel encounter changes me. Erwin McManus says something to the effect that "we are all creating futures" so whether the medium is paint, ink or a relationship, we are all always creating.

Both painting and teaching make me more aware of the world and others. Each is an occasion to study phenomena and behavior. In each sphere there are problems to solve and lessons to learn. I find myself in two streams of continuous, inexhaustible novelty.
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Wild-Life

1/3/2016

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A Buck, viewed from the back deck. Pastel 2x3 feet.
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Montana and North Carolina are very different places. The people, geography, animals and weather are at times, worlds apart, and often I'm glad for it. It's what makes my new home such an adventure laden place. There is a remoteness and wild that characterizes the West, which one can't describe. You have to live it. I've been forced to adjust how I think I exist in a place. I suppose this happens to some degree any time we change location. I wasn't aware of how place affected me when I moved from Nashville to Western NC in 1996. But as I grew I became more attentive to my surroundings and place in the larger ecology, so that the move from NC to MT molds me in a magnified way.

I drove out of town on New Year's Eve to attempt viewing the Northern Lights, which I did see, though only faintly. The wind was strong out of town and the snow drifts deep. Even with my 4x4 truck, down mittens and waterproof winter coat, I was keenly aware of my fragility and impermanence. Here, in the winter, a drive out of town can cost you your life should one get stuck or break down. North Carolina never presented me with such extreme risk and remoteness, not in this way. This dire reminder imposed by nature, was something I appreciated. Being out on the cold plains shakes you from complacency and will show you your deep commitments. 

Looking out my back door also rouses me from the trap of modern, mundane existence. Visible from my house, I see wild creatures (mostly deer) roaming freely, jumping barb-wire fences with ease. In the skies above, hundreds of geese migrate daily this time of year. I'm more aware of the animal rhythms here, maybe because I'm less distracted and content with the familiar.

​Lately my paintings are an embrace of my new locale, a way for me to invest in this new chapter of life, and reshape what is for me ordinary. 



​

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Recent work From Billings

12/31/2015

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Picture
Rim-Rock, Looking North. Pastel on Ampersand pastel-board, 16x20 in.
In the last week I've painted four new works. The large one above is a view of the Rim-rock looking North, as is the first of the three immediately below. The second is of Grand Prismatic hot spring in Yellowstone, and the right is a sunrise from about a month ago. The large work is 16x20 and the three smaller paintings are 8x10 inches, all pastel on ampersand pastel-board.
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Rim Rock Billings, Pastel 8x10 inches
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Grand Prismatic, Yellowstone, Pastel 8x10 inches
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Sunrise Billings, Pastel 8x10 inches
The snow in Montana is very different than NC. Here it is very powdery and doesn't pack together well. What I find most interesting is how radically different the landscapes are in winter, compared to summer. The temperatures are consistently cold enough for the snow to stay around for most of winter. This makes for interesting warm-cool relationships between the local sandstone rim and the snow on the ground, which reflects a myriad of blues and purples.
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Inspired by Yellowstone

8/13/2015

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Buffalo, Sennelier soft pastels and Panpastels on Ampersand Pastelboard. 16x20 inches.
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Last week my wife and I found ourselves in Yellowstone National Park, then in the Tetons. Both locales were exciting, wild and invigorating, while still affording us much relaxation. Upon our return I decided I would try something new with my pastel work, I would include wildlife.

On our trip, we had the chance to visit the National Museum of Wildlife Art outside of Jackson Wyoming, which served to catalyze my interest in painting an animal. This place was great and I recommend it to any one visiting the Tetons or Yellowstone, I was surprised by how much I enjoyed myself there. The artworks were not the trivial or cute sort one often associates with animal art. These were serious paintings of beautiful landscapes.

My main pastel painting interest up to this point has been landscape. The great thing about animals, is that they almost always show up in a landscape, so I figured painting a scene with a Buffalo was a win-win. When we got home, I was eager to start, as I had recently received 6 pastel panels in the mail. I chose the photo above as my source image. I took it on our way to Old Faithful at one of the many pull offs along the road in Yellowstone.

When I paint, I try to pull out and exaggerate colors I see in the photo so the resulting painting has a pleasing level of color and tonal contrast. I find that when I try to reproduce the exact colors I see in a painting, the result is more dull and unexciting. Another thing I'll emphasize when working, especially with pastel, is the mark unique to the medium. Using pastel sticks limits the visual "vocabulary" at my disposal. The primary marking options are broad strokes with the side of the pastel and lines with the end, as in drawing. This is good, because it forces me to do more with less.

I also used Panpastels on this painting, mostly for the under-painting stage, which consisted of  blocking in large areas of color, especially in the background. The foam tools used with Panpastels make a soft mark and are good for atmosphere and visually blurred or out of focus areas. I find more and more that a good painting will require the use of my Sennelier sticks and the Panpastels, each offering distinct advantages.

This painting signifies new possibilities and emphases on aspects of nature other than sky, water and earth. This was a great growth opportunity, something different and challenging. My eyes are opened wider now to the possibilities of painting.

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New Work, Finally

7/25/2015

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Not having a dedicated space really isn't an excuse not to paint. I just have to do some rearranging and a bit more clean up now that I live in an apartment. I hadn't painted at all in Montana yet and figured it was about time to do something creative, so yesterday I set out to paint a scene I photographed on a recent trip to Glacier National Park. The waterfall I painted is in Avalanche Gorge on the way up to Avalanche Lake, itself a spectacular site.

I set up in a corner of our living/dining room on a bench. As usual, I first taped the pastel surface to a board. In my situation, leaning the surface up against the wall was the best way of supporting the painting. I sat on the same supporting bench and spread out pastels all around me on whatever flat surfaces I could enlist for the task. The painting took about three hours to make and measures 19x27 inches.

This was a good reminder to me of how easily external constraints can be overcome or worked with. It's good to remember that to make any art requires sacrifice and as your conditions change so does the nature of the sacrifice. I'm glad now to live in such a beautiful state with its many natural wonders to inspire a new body of work.

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Artist Statement

5/31/2015

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            The artist is a translator of human experience, and one who tumbles headlong into life’s recalcitrant questions of meaning and purpose. To the extent that one engages in this way of life to that extent one is an artist and arguably everyone is always creating something. Erwin McManus expresses this well when he says “humans create futures.”

 We often find ourselves on the borders of human experience, between events and people, mediating meaning and giving form to the relationships among things. The artist self-consciously codifies and preserves events, feelings, thoughts and imagery in a way that their products continue to shape culture through an expressive echo.

My preferred medium (2-D or otherwise) is pastel. Experiences are often fleeting and insights short lived. Sculpting for instance, has rarely afforded me the opportunity to solidify ideas that don’t linger long. Pastel though, gives an immediacy that lets me compile my visual experience in a short time while also allowing for a great deal of revision. Revision is the process that shapes me and how I see and it’s through this means that I am better able to see, record and examine a subject.

With any medium comes a certain bodily attunement. Because each medium provides different postures and ways of being and moving in the world, they all confer some benefit and unique perspective on the subject studied or source used. Participating in different expressive modes, from dance to printmaking to poetry, allows us to see and know in novel ways. So even the two-dimensional artist stands to gain from occasionally dabbling in other art forms. The disequilibrium of novelty breeds insight.

Possibly my most important role as artist is that of restoration. Artists have historically and continue to call our attention to suffering and pain in the world. In doing so the artist has to in some way enter in to the experience of the other and begin to understand the weight of that suffering. Every historical era has its artists who serve as record keepers and those who bring our attention to world events. In part, some of the Abstract Expressionists working after WWII embodied this role. The existential plight of so many of the post war years can be seen in the art of painters like Gorky, Kline and de Kooning. The frequent lack of referent in these works alludes to the moral uncertainties that attend times of war, and force us to ask what undergirds our actions and beliefs, what explains horrific events? These sorts of movements often allow the healing process to begin, by expressing realities in ways not accessible by other means such as newspaper stories or second hand reports of events. The artist has the great privilege and responsibility to grapple with current events and invite others to do the same.

Artists diagnose the cultural condition as well as their individual longings in a way that tends to develop in them a sensitivity to human needs. The work we produce has a salutary effect on our communities by unifying, teaching, convicting and providing fertile ground for reflection.


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    J0hn Hunter Speier 

    Recent work, and explorations of techniques, aesthetics and  poetics.  

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