Osama bin Laden

By now, the whole world knows that Osama bin Laden was killed by US Navy SEALs last night in a compound in Abbottabad, Pakistan. Information is still coming out and we'll probably never know many of the true details of the operation. Still, this is a time to congratulate the unnamed (and un-nameable) intelligence analysts who worked for ten years to piece together the details that led to finding bin Laden. We must also congratulate the unnamed (and un-nameable) Special Operations forces that planned and executed the attack. The dedication, professionalism, and tenacity of these individuals is what led to yesterday's successes. Raise a toast in their honor: they deserve it.

The disclosure of bin Laden's location raises a ton of questions about Pakistan, however. For years, Pakistani leaders, including Pervez Musharraf (former military strongman and President) and Asif Ali Zardari (current President) have said that bin Laden was not in Pakistan; and if he was, he was probably in Waziristan, the lawless area along the border with Afghanistan. Last night proved them wrong. Bin Laden was "hiding" in a huge house in a highly populated area only 40 miles from Islamabad, the capital of Pakistan. His compound was within a short walking distance of the headquarters of a regiment of the Pakistani army. The house was a fortress: eight times the size of anything else in the area, surrounded by tall walls topped with barbed wire. Does this sound like he was particularly worried about the Pakistani government finding him? It's like finding Adolf Hitler "hiding" in a fortress in Frederick, Maryland.

No, I think this proves the Pakistani lie. Their intelligence agency, the ISI, helped establish the Taliban and Al Qaeda. The ISI has always been a bit of a rogue element, outside the control of the President and even, to a certain extent, the military. At the same time that we've been providing Pakistan with aid and assistance over the years, we've been leaning on them to rein in the ISI. They've been giving us lip service, saying one thing while doing the opposite. While telling the world that they were "searching" for bin Laden, they were instead practically treating him as a guest of honor. Now they have world-class egg on their faces, as well they should have. Their lie is exposed.

Apparently, not all Pakistanis are in league with the ISI. President Obama last night mentioned that it was Pakistani information that led to the discovery of the compound. The wording, however, indicates to me that it was individual Pakistanis who passed the information, not official government agencies who are supposed to be working with us.

So what do we do with Pakistan now? Cut all aid and support, tell them to go screw themselves? No. We need them and they need us. Most importantly, we need to maintain a good handle on what's going on in that country. To be blunt, I think the only reason we're still involved in Afghanistan is because Pakistan, right next door, is a nuclear power that's teetering on the brink of falling to the Islamists and Taliban/Al Qaeda supporters. If they did, that would be a disaster of world-wide proportions. Not only would international terrorists have a safe home base, but they'd have access to nuclear bombs and materials. A nuclear war with India would only be a matter of time.

As the saying goes, "keep your friends close and your enemies closer". Pakistan is a "frenemy", so we need to keep them in a headlock while trying to encourage the growth of a less-corrupt and more democratic government. A very difficult task.

I've been very interested in exactly how this operation went down. Information is pretty sparse, as it really should be. Apparently, two helicopters with the SEAL team left Afghanistan and flew to Abbottabad for the attack. One helo had a mechanical failure during the operation (possibly due to a sudden ingestion of many bullets from AK47's?) and was destroyed by the team. After the attack was over, the team left with bin Laden's body on the remaining helo and flew back to its base in Afghanistan. The body was apparently photographed, something was taken to provide DNA evidence, and then it was loaded into a US Navy plane and flown to the USS Carl Vinson in the North Arabian Sea. Then it was buried according to "Islamic tradition". The burial was probably filmed for propaganda and historical purposes, although nobody has said that yet.

So: how did the helos get from Afghanistan to Abbottabad? They're not stealthy. Did they disguise themselves as a routine supply flight until arriving at Abbottabad? Did they fly low, under the radar? That's a hard trick to do for any length of time, as it requires skimming the earth and flying through valleys. Very dangerous and risky. The Pakistanis weren't told of the attack until it was over, so the Pakistani air traffic controllers certainly weren't in on the game. And how about the fixed-wing flight from Afghanistan to the carrier? By then, everybody knew about the attack.

Going forward, it's going to be interesting to see what the Pakistanis do. They've been caught out before the whole world in a lie. Their people are already furious about the ongoing drone strikes. They can't cut us off because they can't afford to lose our aid and support. Their leaders will probably make a lot of noise about territorial integrity or some such nonsense, but I doubt they'll do anything really rash. So it will be interesting.

As for the remaining Al Qaeda and related terrorists, it's pretty clear that there will be some reprisal attacks. I would expect to see some suicide bombings very soon - almost certainly in Afghanistan, possibly Pakistan, and possibly a few other (unexpected) places. Suicide bombings are easy for them to arrange on short notice. We will probably see much more complicated attacks being planned for the longer term (several months). Al Qaeda used to have a very long-term view, in the decades, but now it's much shorter. They've been beaten back over the past few years. I think they have to quickly prove they're still relevant or else they'll lose their support, so they're probably thinking in terms of months now, rather than decades.

One target down. More must follow. The momentum seems to be on our side now, though.

Out of the Studio

After eight years, I no longer have a studio. I finished moving out yesterday. The walls no longer have my works on them, my supplies and equipment are gone, and all that's left belongs to my studio partner. I feel kinda sad - the place was my professional home for a long time and now it belongs to somebody else.

But it's time to go on to the next stage of life, whatever that is. I've always found that, when the decision to make a change is made (whether it's a change of duty station, change of job, whatever), then I don't mope about what is past. I get excited about whatever's coming down the pike. That's the situation now. I decided three months ago to find some other full-time employment. Then, in order to focus more on the job search and be better prepared for any offer, I decided three weeks ago to close down the studio. I think that was a good decision. It removed an ongoing distraction ("gotta go down to the studio and paint") as well as a Sword of Damocles ("what am I gonna do with the studio if I get a job offer and have to be somewhere in a week?"). Of course, it took quite a bit longer to close it up than I thought: two weeks instead of the anticipated four or five days.

But in the end, it worked out. I sold off a lot of stuff: furniture and equipment mostly. I packed up the reasonably-good artworks and destroyed a lot of substandard ones. Some artist friends and Goodwill got some things gratis. When I removed my workbench and painting rack, I found some really hideous bug sanctuaries. (Hey, the bench and rack were there for eight years, what did you expect?). Now all the "keeper" items are in a 10x10 storage unit, ready to be loaded into a moving van for transportation wherever we go next.

And I'm pretty sure we're going to go somewhere. Asheville is a wonderful place to live, but it has been recognized for having one of the 10 worst job markets in the country. There are lots of examples: a PhD who's working as a federal GS-5 clerk, a young lady with a masters in biology working as a figure model, a large number of people with bachelor's degrees working as waiters and waitresses, former owners of construction companies working at Lowe's. And those are the lucky ones.

As noted in previous posts, I think something will pop for me before too long. It probably will not be here. So tomorrow I double-down on the job search. It won't be a half-time effort anymore.

And I'm pretty excited about it. Whatever it brings.

Family Tree

I've been working on my family tree off and on for many years now. Recently, I had a breakthrough on a couple of the branches and discovered two ancestors who fought in the Civil War. Their stories are quite amazing.

One was a great-great-grandfather (my mother's father's father's father), James Price. He enlisted in the 58th Alabama Infantry in February, 1862. The unit was sent to Mobile to man defensive positions for a year. In 1863 the 58th moved to Tullahoma and fought in several small engagements. In September, the men participated in the battle of Chickamauga, where they distinguished themselves by capturing several pieces of Federal artillery the first day and breaking the Federal lines the second. However, the 58th paid a heavy price, losing over half its men killed and wounded during the battle. After recuperating and consolidating, they fought in the battle of Missionary Ridge on November 25th. Union forces defeated the Confederates and ended the siege of Chattanooga. The 58th suffered heavily: of 400 men in the fight, over 250 were killed, wounded, or captured.

My great-great-grandfather and his unit wintered over in Dalton, Georgia. In May, 1864, they fought at Resaca, GA, losing a third of their men in the first few minutes. They also fought at New Hope, Kennesa, and around Atlanta. In the fall they moved north into Tennessee and were in engagements in Columbia, Franklin (twice) and Nashville.

I believe that my great-great-grandfather was wounded and discharged at some point, probably in one of the 1864 battles, as he was married and had a child born in 1865. I haven't found any record of his discharge yet but will continue looking.

The other ancestor was also a great-great-grandfather: my mother's father's mother's father. Lorenzo Whitaker enlisted in the 2nd Mississippi in the spring of 1862. His older brother William had enlisted in the unit the previous year and fought in the Battle of First Manassas (aka, "Battle of Bull Run"). Lorenzo joined the 2nd Mississippi at Yorktown, where they were gearing up for another combat season. Shortly after he arrived, however, his brother was discharged due to an unspecified disability. Lorenzo and the 2nd Mississippi participated in the battles of Seven Pines (near Richmond in May, 1862), Gaines Mill, Second Manassas, and in September, at Antietam. There, they routed Federal forces out of the Cornfield, while sustaining losses of about half their men. The unit then retired to Goldsborough, NC, where they wintered over.

In the spring of 1864, they began combat operations again. They participated in the (unsuccessful) siege of Suffolk, Virginia, and then moved north as part of Lee's campaign to take the fight into Northern territory. The 2nd Mississippi was in the vanguard of forces moving toward Gettysburg when the fighting started on July 1. They inflicted heavy losses on Federal troops, broke their lines, and chased them toward Seminary Ridge. The chase became chaotic, however, and a large group was suddenly outflanked and surprised at the Railroad Cut, which put the Southern forces in a hole and unable to fire effectively. Many were quickly wounded and killed and the Cut became a killing ground. The Major in nominal charge of the Southern forces surrendered. My great-great-grandfather was one of those who was wounded and captured.

As it turns out, these were the lucky ones. Two days later, what was left of the 2nd Mississippi took part in Pickett's Charge, where they were decimated. Out of all the 2nd Mississippi's men who started across the field, only one was not wounded or killed.

Lorenzo and the other captives spent the rest of the war at Fort Delaware, a prison camp on an island off Delaware City. This camp was a gulag, on par with any concentration camp. At one time, it held up to 13,000 prisoners, many from Gettysburg. Water was putrified and food scarce. Rats were a delicacy. Diseases such as scurvy, smallpox, malnutrition, measles, dysentery, and diarrhea were widespread. All had lice. One prisoner wrote that he shrank from 140 pounds to 80 pounds during his time there. Approximately 2700 Confederate prisoners died during captivity; 2436 are buried on the island. Lorenzo survived captivity, however, and went on to raise a family on farms in northern Mississippi.

Reading history books about the great events of our past is all well and good, but it usually seems remote. Now, though, I have a personal interest in places like Chickamauga and Gettysburg. My ancestors were there. Those events shaped them, they shaped their children, and their children, eventually, shaped me.

Richard Johnson - Combat Artist

I just found out about the "Kandahar Journal", an artist's blog by Richard Johnson. He's with Canadian forces in Afghanistan right now. Richard is an excellent artist, a fine draftsman who really captures the spirit of his subjects. And he has an eye for the telling detail. Go visit the blog, bookmark it, and visit often. This guy is worth following.

Packing Up

My studio is a mess, isn't it? I'm busy moving out. As mentioned in a previous post, I've put in for some really interesting jobs over the past couple of months, and based on the meetings in Washington two weeks ago, something will probably come through before long. I have no idea how long "before long" will be: it could be this afternoon, it could be in six weeks, who knows? But something will. And when it does, Janis and I are going to have to react very quickly. So it's better to close the studio down now, while there's plenty of time (?), rather than madly rushing around throwing everything into moving boxes or the dumpster.

I'm going to have a studio/yard sale this weekend, on Friday and Saturday, to sell off things that are too good to throw away but no longer of use to me. The past few days have been spent in digging through shelves, sorting, packing, and pitching things into the "sale" pile or the trash. I'm continually amazed at finding stuff that I forget was here, or at the amount of artworks that once were keepers. I've destroyed a lot of drawings and watercolors today that really aren't keepers. It's very cathartic, too. The thought process kinda goes like this: "oh, look at this one, it's not too bad .... well, yeah, but what are you gonna do with it? Would it ever sell? Would you ever frame it for your own house? No?" Then RRRRRIIIIIIIPPPP and it's torn in half and thrown into the paper trash bag. I haven't even started on the canvases yet. Gotta dig out my box cutter first.

I've advertised the studio/yard sale on the local artist listserv and the vultures are already circling. A few items have already been picked off: the tent is gone, some fold-up chairs, and a couple of folding easels. A couple of ladies came in today thinking that the studio will be vacated, but no, my studio partner Christine is staying, so the two ladies were very disappointed. I've even got some artworks at ridiculously marked-down giveaway prices with no takers so far. It's a sad state of affairs when a cheap frame is worth more than the labor of love that's inside it, but that's the way it goes. If you're an artist, get used to it!

Somebody asked if I was quitting my artwork. The answer is NO. I'm a painter, even if I have to be gainfully employed in some other field. For the short term, my garage will be my studio. Once we get settled wherever it is we move to (IF we move), then I'll have a studio again. So I'll continue to make artworks. Just not full-time, and not in this studio, anymore.

So now it's back to work. Two big rolls of bubble wrap are looking at me, as well as bunch of paintings that need to be packed up.

Figure Drawing

Mac

Charcoal and Conte crayon on toned paper, 22"x16"

Changing Directions

The trip to Baltimore and Washington this past week was quite eventful. Well, actually, the traveling wasn't eventful, but Wednesday was. I stayed with my aunt and cousin just north of Baltimore. It was great to see them again - they're wonderful people, very supportive of me and my wild hairs. And this trip fell into the "wild hair" category. After traveling on Monday, I spent Tuesday doing my final research and preparations. Then Wednesday morning dawned early. (Okay, it "dawned" at its regular time, which I'm never awake for, so dawn to me is ungodly early.)

My cousin dropped me off at the Camden Yard train station and I caught the MARC train to Union Station in DC. This one hit all the stops, tootling thru the old beat-up industrial areas in south Baltimore. I was looking out the window at all these old factory buildings, thinking what great studio spaces they'd make. When we got into the more rural and residential areas, it was pretty boring until we rolled into Washington. Then it was off the train and down to the Metro station.

For my first stop, I went into downtown Washington. I've applied for a really cool job with a national nonprofit, and one of their main offices is in downtown DC, so I wanted to go by and talk with them in more depth. I'd sent them an email and made two phone calls to set up an appointment, all without any response, so I took the bull by the horns and just walked into the office. To be frank, I wasn't expecting much - to judge by their earlier non-responses, they probably weren't very interested in talking to me.

I was wrong. I spent well over an hour talking with a guy who was very interested, both in me and in talking about his organization. Our conversation ranged over a wide area: the organization's mission, what they're looking for, what they see for their future, what I cold do for them, and far, far more. It was very encouraging. I came away from the meeting even more pumped about the organization, what I could do with them, and about my chances of actually getting onboard. I spent today revising my resume and cover letter to better reflect that understanding. Keep your fingers crossed. This is a really cool opportunity.

From there, I went to the career fair. This was a big event - there were about 80 companies who were (supposedly) looking for new hires. I had identified three that would probably be good to work with, three more that had potential, and five more that at least deserved a look. None of them are as good as the nonprofit, but a guy's got to have a backup plan in place, doesn't he? So I talked to all six of the top companies. Some were better than I'd thought, others not, but that's why you talk with 'em.

What was really interesting to me was the responses I was getting to my background and resume. One guy looked over my resume, gave me his own email address at work, and told me to send him the information about which jobs I was interested in so he could contact the specific decision-makers. Another one told me how to game his company's online job application system to increase the odds of my resume actually getting to somebody important. Apparently, I have a pretty good resume - which is reassuring after getting turned down for so many other lower-level jobs to date with terms like "not qualified" and "not in the most qualified group".

I met up with an old friend from Baghdad there. He and I worked for the same guy at the Corps of Engineers and we're both job-hunting. And, as it turned out (much to our amusement), we have applied to many of the same jobs. So we double-teamed one company's recruiter, offering to arm-wrestle for that particular position. It was cool to see him again and I hope he gets something soon, even if it's one that I applied for, too, as long as I can have the non-profit position. (No, he isn't interested in that group, so I'm safe from competition from him there).

When I wasn't talking with recruiters, I had a great time people-watching. This was a military-oriented career fair, so the place was loaded with Type-A personalities who were on a mission. Don't get in their way or you'll get run over. The newly separated or soon-to-be-separated guys seemed to be wearing the same blue blazers with gray or tan slacks that they got from Joseph A. Banks. There were quite a few of us slightly older guys, and a few who were well past retirement age. I even saw one guy with a bad gray toupee. Never seen one of those before. A gray one, I mean.

Eventually, I got to the lower end of my list of prospective companies and realized that I had absolutely no interest in talking with the recruiter in front of me. Time to leave. Since I was in Washington, I went straight to the Smithsonian's American Art Museum. Got my creative batteries recharged on Winslow Homer, Edward Hopper, John Singer Sargent, and more. Then it was time to grab the MARC train back to Baltimore.

My trip home was uneventful, except that I left the power supply for my laptop up at my aunt's place. She's mailing it back to me. Yesterday I had to take care of stuff that popped up while I was gone, namely the "Check Engine" light on the car (why does this only come on when I'm gone?), cutting the grass, and taking care of a few other nitnoid things.

I've made the decision to close down my studio at the end of the month. After my Washington trip, I came to believe that it may not be long before I have a decent job offer in hand. When I do, I'm going to have to move somewhere pretty quickly. Asheville is probably not in my future for very much longer. So it's best for me to pack up my studio now and be ready to go when something happens.

So that's how things stand this Saturday night. It's been an eventful week. My head is in a much different place now than it was at this time seven days ago. Wonder what the next seven days will bring?

Nice Day for a Flight

So I'm sitting here at the Asheville airport. The flight to Charlotte leaves in an hour, and I'm killing time in the brand-new coffee bar/lounge. This is new since the last time I was here and it's quite nice. I've got a great view out over the parking ramp and runway, over to some kind of construction project on the far side. It's a beautiful day today, not a cloud in the sky and perfect temperature (70 degrees).

I'm on my way to Baltimore today. I'll stay with my aunt and cousin for a few nights. The purpose of the trip is to go to a military-oriented career fair on Wednesday. Yes, the job search is still ongoing. No nibbles yet. Some days I feel like it's only going to be a very short time before I'm gainfully employed again, then the next day I'll feel like I'm never going to find a job, ever. Then I'm convinced again that it'll only be a short time before the perfect job calls.

So what am I looking for? Well, it's really a combination of two things. One, I need to feel like I'm making a positive difference. Just adding to some corporation's bottom line does not excite me. So non-profits and some government agencies are high on my list. Second, our end goal is to move to San Diego. Janis is from there and we have family and friends there, particularly a little grandson. So the perfect job for me is a people-related non-profit in San Diego.

That's a pretty small market. I may have already hit everything there is to hit.

So there are a variety of Option B's. These involve various combinations of expanding the geographic area to southern California in general, expanding the the pool of target organizations to contractors who are doing interesting things, or doing a temporary detour to someplace else.

Which is why I'm heading to this career fair. I've been to this one once before and it was quite impressive - it took over the whole floor of the DC Convention Center. There are maybe 70-80 companies that will attend. I've researched them and have about 15 that I want to talk with; of those, maybe four or five are in my top tier. Almost all are defense contractors of some sort; some have locations in southern California, others are doing really interesting things somewhere else. I've got resumes out the wazoo in three different formats, a hundred or so business cards, and a couple of contacts. Let's rock 'n' roll!

As I typed those last words, my airplane landed and is now taxiing to the gate. Time to close this up and head on over. Wish me luck!

Life Drawing in the Studio

We had our life drawing session last night. Our model was a young lady who has worked with our group for several years now. Two of my drawings turned out fairly well.

Krista #16

Charcoal and Conte crayon on toned paper, 19"x12"

Krista #15

Charcoal and Conte crayon on toned paper, 19"x12"

Spring!

Spring has sprung

The grass has riz

I wonder where

The flowers is.

That nonsensical poem came from my first art teacher many many years ago. It still pops into my mind, unbidden, every spring when I see the plants coming back to life. Which is happening now and it's wonderful to see. My grass has been turning green for the past couple of weeks and might even need mowing in another week or so. Our daffodils popped open a week ago. Yesterday, the forsythia started turning yellow. Today, I saw the first sprigs of green on the bushes lining our driveway. The maples are just starting to bud. The tulip poplars and birch trees haven't woken up yet, and the oaks are still sound asleep. They're always the last to come to life and the last to drop their leaves, anyway.

I've got a bit of spring fever today. I wanted to get out into the yard, but pushed myself to go down to the studio instead. There's work to be done. I need to get the portrait completed - it's been on my easel for a long time now. Can't move on to the next project while this one is still front and center. Unlike some other artists, I don't really work on multiple paintings at once. I'm a linear, one-at-a-time kinda guy.

On Wednesday, we had a long pose during our weekly life drawing session. Here's what I came up with. Not the greatest, but it was a fun study, a bit challenging.

Danielle

Oil on panel, 20"x16"

So now it's time to get the big portrait back up on the easel and start working again. Enjoy your spring day!

Serendipity Happens

I'm a bit frustrated. It feels like I've just been spinning my wheels in slow motion this past week with little or nothing to show for it. In last week's post, I mentioned that I was going to the doctor for a case of painful tennis elbow. She put me on an anti-inflammatory called Meloxicam. I lasted four days on it before the side effects became too much. It made me tired and grumpy, upset everything from the stomach on down, and made me feel like I had a case of the flu. Yuck. As soon as I quit taking it, though, my body perked back up. The elbow is better - not completely well, but now it's just a minor annoyance. I'll take that and run with it.

The doctor also said to give my arm a rest, meaning no painting. So I spent several days on the computer instead, doing my job search. To me, this is a very frustrating experience.

To start with, there is the Great Silence. This is the standard response to a well-written submission that is carefully tailored to the opening. It's what I hear most of the time, particularly from federal agencies, even when I could clearly do the job in my sleep. Drives me nuts. The next most common response is No. At least it's a decision and I can accept that.

All is not bleak. A couple of companies have been vocally interested and had me provide more information. And as I go through the process, I'm learning more about what to say, how to say it, when to say it, how to write it up, and so on. It's iterative, and I'm getting better at it with each interation.

Last week I participated in a virtual career fair. It was essentially a military-focused career fair that was conducted online. Very interesting. There were almost 60 companies and agencies participating. I researched almost all of them, and of that total, there were 2 1/2 that I was interested in. As it turned out, none of them really had anything I wanted to do, but another company popped up out of nowhere and the more I looked, the better it looked. The recruiter was very helpful, interested in me, and wanted more information. Lesson learned: prepare yourself beforehand for these events, research all the companies, and when something unexpected comes up (as it will), go with it.

Actually, this happened to me before. Back in 2007, I attended a career fair in Washington, with the specific intention of talking with the State Department about going to work for them in Iraq. As it turned out, the people at the booth were completely ignorant of the program I was interested in. But while heading back to my car, I stopped in a drug store and spotted a freebie newspaper focused on federal and contractor jobs. It had a section that pointed me directly to the program that I went to the fair to learn about. Which led to me working in Iraq for a year and a half. So the fair itself, for which I'd prepared, was a bust, but the trip was a success due to the unexpected.

And it goes back to something else I learned back in art school: Serendipity Happens.

Yesterday, with my body back to normal, I returned to the studio and picked up a brush again for the first time in a week. Man, did it feel good to be painting again! I worked on the large portrait, putting in a completely revised background. Serendipity happened here, too: everything came together and a beautiful sky appeared behind the young lady with a rose. Now the bottom section needs to be put together. It'll come.

Life Drawing

Claire

Charcoal and Conte crayon on toned paper

Last night we had our regular Wednesday night life drawing session. Our model, Claire, is a dancer and always takes wonderfully graceful poses. My first couple of drawings were junk, but then things started clicking and this was the last one of the evening. I think it came out pretty well.

Because of the preparations for the show at Mars Hill College and with job-hunting, I haven't been able to put a drop of paint on the portrait in over a week. I'm going through withdrawals now! Must .... paint .... must .... paint .....

Over the last couple of weeks, I've developed a bad case of tennis elbow in my right arm. Okay, so it actually started a year ago from working out in the gym in Iraq. I was able to pretty much ignore it for a long time ... "it'll go away ..." - NOT! And now it has gotten to the point where my arm locks up when I'm working at the easel and constantly burns. So I've got an appointment this afternoon to have it looked at. I can hear Dr. Heiselmann now: "So, how long has this been going on?" Me: "Umm ... a year ..." Okay, so I'm a bit hard-headed and slow!

Exhibit at Mars Hill College

Mars Hill College is exhibiting a collection of my paintings and drawings through the end of the month. The show is titled "After the Conflict". It includes a few large paintings that were done a few years ago, recent oil paintings, and some drawings and watercolors that were done in Iraq.

Here are (left to right) Lament, You Don't Understand, and Warrior. These paintings were part of my "Meditation on War" series.

I built a support for all of the Portraits from Iraq, turning the collection of eight separate panels into one artwork.

These are six drawings from the "Baghdad Sketchbook", plus the small painting Tent City.

The show runs through the end of the month. It's in Weizenblatt Gallery, in the Moore Fine Art Building. Hours are 9-4 Monday thru Friday, closed weekends.

Life Drawing

We're still doing the life drawing sessions in my studio on Wednesday evenings. Last night we had a new male model who was quite interesting to draw. This drawing took about 20 minutes and was done in charcoal and white Conte crayon on toned paper. Last week, we had a young lady in for a portrait session. It was fun, but my work (in oil on linen board) was crap, so I wiped it out. That's the way it goes: sometimes the drawings or paintings flow easily, other times they're a struggle, and sometimes you can't get it right no matter what you do.

Painting Progress

I've been working on a large portrait lately. It's a life-size image of a young woman on a 60"x40" canvas. It's a classic, elegant type of painting. Development has been a bit slow, probably because my attention has been divided between the studio and job-hunting. Today, though, it came a long way in a short time.

I had the model come to the studio a couple of weeks ago. We tried a number of poses and quickly focused on a standing 3/4 stance. I did a bunch of charcoal sketches to work out some thoughts, then did a very rough color sketch that noted color temperatures. Then I took a lot of reference photos - whole figure, face, hands, and other details.

Reference photos are a necessary evil for me. I like working from life, but a painting like this one takes a long time to develop and model fees would bankrupt me long before it was done. So I console myself with the thought that Norman Rockwell and others use photos, too.

I got the painting blocked in in one day, and then worked on the face over two more sessions. By then, the figure had an interesting expression on her face - when doing my "stream of consciousness" scribbling in my journal, the word that popped up was "saucy". I liked the expression. The pose, though, was a different matter. It looked like a prom picture and did not go with the expression at all. So I had the model return to the studio and we came up with a much better solution. The body position is the same, but the arms are different, much livelier. I reworked the block-in and was happier with the changes. Over the next week, I made a little progress here and there. The painting was just crawling along.

Today, though, something happened. I started working on the dress, putting the dark layer down and wiping out the highlights with a rag. It turned out pretty well, so I decided to add the rose. It worked out well, too. Then I did another little little thing, and another, and everything kept turning out pretty well. I was on a roll! That doesn't happen all that often, so when it does, you gotta ride that pony!

So after making slow progress over a couple of weeks, we had major progress today. It still has a long way to go, but here's how it looks right now.

Here's the full painting leaning against my easel. The color looks flat and not well modeled in this shot, probably because of the fluorescent lighting, but there's more to it than appears here.

Here's a detail of the face. This shows a bit more color and modeling, doesn't it?

So what remains to be done? Well, lots. The whole background is going to change. I'm going to give the dress five or six days to dry, then put a glaze of cool color over it with cool highlights. The face needs more work, as well as the hands and arms. In other words, pretty much everything. But now I feel that I have a good framework to build on.

Change of Direction

The reason that my blog posts have fallen off a bit lately is that I'm job-hunting. Yes, I'm looking for a full-time position that does something worthwhile. And, as usual, there are many reasons for this move at this time.

One reason is that I have little confidence in economic recovery anytime soon. Despite some positive signs, and despite pundits saying that things are looking up, I see a lot of doom and gloom for at least the next five years, probably more. Back in October, I wrote a blog post about the federal budget. It noted that the current federal spending accounts for over 25% of the US gross domestic product (GDP), but only takes in about 15% of GDP. Both levels are significantly different from their historical levels of about 20%. In other words, we're spending at levels not seen since WWII, and taxing at unsustainably low levels. To get the budget back in balance, Congress is going to have to cut spending by about $630B and raise revenues by about $540B. So far, both parties are doing a lot of posturing and doing little or nothing substantive, but the substance is going to come one way or another. The ongoing battle in Wisconsin is just the opening skirmish in what is going to be a long, difficult, and ugly period. These government cutbacks are going to come at a time when private industry is sitting on massive amounts of cash and doing little or nothing to actually build a solid economic recovery. Not a good combination.

The budget problem is going to hit retirement pay hard. Many private companies have managed to duck their pension obligations and local and state governments are looking to do the same. I think this will probably hit the federal government as well. Military retirees (like me) have already had our retirements frozen at current levels. I can see the day when Congress tries to actually reduce it or take it away.

And Social Security is tied up in the mess. Economists, Social Security administrators, and anybody who can add one and one and get two have been warning for years that the structure of Social Security is unsustainable and must be fixed. But in the recent lame duck session of Congress, instead of fixing it, they made the problem worse by cutting payroll taxes and putting Social Security into red ink permanently. I fear for Social Security over the long run.

Meanwhile, many economists and business leaders have been predicting a rise in inflation. Ben Stein (whom I often disagree with but always respect) made the case pretty succinctly in a piece on 60 Minutes yesterday morning, anticipating high inflation with a stagnant economy. I remember well the previous "stagflation" period of the 70's. It was pretty awful, and unfortunately it looks like we're heading there again.

So I think our economy is going to remain in the toilet for years. As an artist, that's pretty devastating. Artists are the economic "canary in a coal mine": we're the first to get hit in an economic downturn and the last to recover. (In fact, the art world had not recovered from the relatively mild recession of the early 2000's when the economy tanked in '08). Since returning from Iraq in May of last year, I've seen little sign of hope. From visitors to my studio, to galleries, to discussions with other artists, to my proactive ventures into public art, there's no real indication that the art world is on the rebound.

As a result, I've decided that the best course of action for me is to find full-time employment. For the past two months, I've spent about half my time on researching opportunities, talking to friends and potential employers, putting in applications, and revising my resume on a daily basis. I can't say it's fun. Actually, it's a bit dispiriting, particularly when I get turned down for a job that I could do in my sleep. But a job search is a numbers game. You gotta keep at it and explore every opportunity. Sooner or later, something will come through.

I do NOT consider this a failure as an artist. My art is quite good: my paintings, drawings, and original prints are well done and have important things to say. But if the market is not there, that's something beyond my control. Some people have told me that I should do this or that type of artwork, something that would appeal to a wide population and sell. Unfortunately, I seem to be genetically incapable of doing that. My mind puts up a solid concrete wall when it comes to creating decorative items for popular consumption. Give me something with some meat to it and I'm on a roll; give me a mission of creating fluff and I fall on my face. Steve Jobs said something memorable when he was recruiting John Sculley away from Pepsi to run Apple: "Do you want to sell sugar water for the rest of your life, or do you want to come with me and change the world?". I can't do sugar water. My contribution to changing the world is minuscule, but I'd rather do that than make art just to sell.

So now I'm looking for other ways to contribute. I've got a lot of irons in a lot of fires right now and more coming. Many more. Meanwhile, I'll continue to work in the studio. There's an exhibit coming up next month that needs to be prepared, a new painting in progress, and some more workshops and classes to be taught. And a few of the "irons in the fire" are art projects.

But if you're looking for somebody to help you change the world, give me a call.

Life Drawing Session

This is a small, 16"x12" oil sketch done last night during our life drawing session. I decided to challenge myself and use oil paint instead of charcoal and paper. This, and the other three, were done in 20 minutes or so. I wiped out all the others, but this one was interesting. The model's pose had a lot of power to it, which is what I tried to capture.

Today, I'm working on a large (60"x40") portrait of a young woman. It is, frankly, "commission bait", an example of what I can do. Today I worked up the drawing and transferred it to the toned canvas. Tomorrow, the paint starts flowing.

Preparation Week

Sorry, no cool photos for this post. I've been spending my time doing lots of behind-the-scenes preparation. For what? Well, two things, mostly:

I'm going to have a Color Mixing Workshop in my studio next weekend, on Saturday the 19th, from 10 am to 4 pm. I had a difficult time with color mixing for many many years. When I studied art growing up, and in my first time around in college in the mid-70's, color mixing was a "black art". I could mix one yellow and one blue and get a bright green, but change one or both colors and wind up with something that looked like it crawled out of a swamp. Nobody could tell me why. About all the guidance I received was to keep mixing colors and eventually I'd know which ones to use. Well, "eventually" never came. I finally moved away from painting and did black-and-white printmaking instead for many years.

In the early 1990's, when I was studying painting at Maryland Institute, College of Art, one of our required textbooks was "Blue and Yellow Don't Make Green", by Michael Wilcox. This book gave me a clear and logical understanding of how artists' colors act when mixed. Finally, I understood why one pair of colors gave one result, and a different pair gave a different result. More importantly, I could deliberately choose my colors to get the specific effect needed. It completely changed the way that I thought about colors. As a result, I'm a painter now. Printmaking is secondary.

The approach taught by this book is still not taught very much in schools, though, and I see lots of new artists having a rough time with color mixing. So I'm going to have this workshop and show more people how to do it. Interested? There are more details on my web site.

Meanwhile, in the studio, I'm still doing color charts. And I'm still learning things about my colors that surprise me. But I'm itching to put that knowledge to use now, so I'll start working on something new within a few days.

The other thing that I'm preparing for is an exhibition of paintings at Mars Hill College. The show will be called "Residue of Conflict" and will be made up of paintings from the "Meditation on War" series as well as works done during and after my time in Iraq. It'll be up from March 7 to March 31 in Weizenblatt Gallery in the Moore Auditorium building, which will be open during working hours Monday through Friday. I've been preparing works for this show and need to do some final preparations over the next couple of weeks. So if you're in the Asheville, NC, area during March, take a drive north to Mars Hill and see the show!

Charts and Murals

There's an interesting project that I'm involved with. In downtown Asheville, there's an area called the Block. It's an historically African-American neighborhood that has been left behind in economic development over the past 20 years. Now, however, a local non-profit affordable housing development group called Mountain Housing Opportunities is going to refurbish and enlarge an existing decrepit building. When done, it'll have apartments, offices, and retail spaces. The project won't start for another year, though, so in the meantime, MHO has asked the Asheville Mural Project to put some murals up over the boarded-up windows. The murals will be images of African-American leaders. The AMP asked me to do a couple of them, and so I wound up doing one of Rosa Parks and another of Booker T. Washington. That's Booker on my easel above.

Okay: so how does something from my easel wind up as part of a mural? Well, the images are being painted with acrylic paint on what's being called "painter's dropcloth". It's not really a dropcloth, it's a special kind of paper. In the studio, I temporarily taped the paper to an existing stretched canvas so that I could adjust it on my easel as necessary. Now that the images are done, the AMP will laminate the paper onto plywood and attach them to the windows. This is much easier than trying to paint the images onto plywood onsite, especially this winter.

With Booker completed and out the door, I went back to my other project. I've been doing color charts lately. This is something that I do every few years, both as a refresher and to learn something about new colors. And I always learn something new, even about colors that I've had on my palette for years.

Here are some of the completed color charts. If you look at the one on the bottom in the photo above, it has Burnt Sienna (a brownish red) straight from the tube in the upper left corner and Viridian (a bluish green) straight from the tube in the upper right. In between, left to right, is Burnt Sienna with a bit of Viridian; a half & half mixture of the two; and Viridian with a bit of Burnt Sienna. The two rows below are the top row colors mixed to a mid-value and then to a light value with Titanium White. So these charts give me a good idea of how the two colors interact with each other, and how they look when they're lightened. Yes, I know, it looks pretty anal, but my peabrain likes things organized and logical.

My focus this time has been creating charts that cross the color wheel: reds with yellows, greens with reds, oranges with blues. These are giving me a rich variety of neutrals. Some of my discoveries have been very surprising. For example, the Burnt Sienna made by Utrecht is very different from Burnt Sienna made by Gamblin. The one by Utrecht looks like a dark brown straight from the tube, but is really a strong dark orange, and when mixed with Cobalt or Ultramarine Blue, it gives a nice muted green. The one by Gamblin is much more muted; I'd almost call it "dead" next to the Utrecht version. Never would have thought that.

New subject. I've had a subscription to Art in America magazine for several years. It keeps me in touch with what's going on in the art world and I've found some really good artists in its pages. When I get a new issue, I go through the whole thing and flag the pages where there's something of interest - which, to me, show painters doing interesting narratives. (Hey, I'm a narrative painter, after all!) My new issue arrived yesterday and hit a new low. I only found one artist of interest. One. The rest of the magazine was filled with images, ads, and articles about artists doing installations and other things that I couldn't care less about. Art in America has always been a source of new ideas for me, but there are fewer and fewer interesting painters in its pages. If this keeps up, my subscription will have to lapse.

New Paintings

Through the Window

©2011, Oil on panel, 20"x16"

White Keffiyeh

Oil on panel, 20"x16"

Two more paintings have been added to the "Portraits from Iraq" series. "Through the Window" is based on a random photo of a young soldier during a trip outside the wire. "White Keffiyeh" is of an Iraqi working-class man.

All of the paintings in this series are size 20"x16". This uniformity is one of the uniting factors in this series. They are intended to be seen as one work. I haven't decided exactly how they'll be presented yet, but I'm thinking that they'll be in one long unit to hang at eye level. Maybe I'll have to break it into two or more sections just for practical reasons ... right now there are 8 portraits and there will be another four to six more, meaning the whole series will measure up to 19 feet long. That's a little longer than the bed of my truck!

Posthumous Portrait

Helo Pilot

20"x16", oil on panel, 2011

Over the past week or two, I've been swapping emails with an old Navy buddy. We got to talking about issues that are central to my "Meditation on War" paintings: why we go to war, how military members feel about it, the costs of war, and personal losses. His daughter was engaged to a young Army helicopter pilot, a Captain. He went to Iraq in 2006. While flying a combat support mission over Mosul, in northern Iraq, he was shot down and killed. When he was buried, pretty much the whole town turned out to line the streets.

This story got to me. Reading stories about anonymous soldiers being killed in action is one thing, but hearing about the personal impact is another. Isn't it always? I asked for some pictures of the young man. One of them, where he was beside his helicopter, seemed to me to be the liveliest and captured something of his spirit. So I turned it into the painting above.

Doing a portrait is difficult under the best of circumstances. Doing a posthumous portrait is doubly so, particularly of somebody I never met. I can't see the person, can't study the way light bounces off different surfaces, can't see the color shifts in the skin tones, can't see the way he carries himself, and (most important) can't get my own first-hand impression of his personality and character. Even worse, such a portrait is loaded with emotional baggage that a regular portrait doesn't have. So doing a posthumous portrait is at best a guessing game done in a minefield. Fortunately, this time I apparently got it right, or at least close enough. My buddy said that I hit the mark with it, and that's a good feeling.

A few years ago, I saw a TV show about a woman who was painting portraits of fallen soldiers. She was a professional artist and her works were quite good. The segment followed her as she painted a portrait of a young infantry soldier from some photos, and then went to the his parent's house to record their reaction. It was evident to me that the portrait missed something in the young man's likeness or character. The reaction that an artist wants is "Oh, my gosh, that's John!" The reaction this portrait got was "oh ... ummm ... look, she got the way he always stands ..." Put yourself in their position: they've lost their son, somebody has gone to the trouble of painting a portrait of him and is giving it to them, here's a TV crew in their living room to record the Big Moment, and the portrait isn't quite John. What are they going to do? Say something nice, be appreciative, and when the TV crew leaves, they'll pack the picture up and put it away someplace while they try to put their lives back together again, only without their son.

I've done a posthumous portrait once before of a young Navy sailor who died of cancer. I didn't copy one single photograph. Instead, I used the general pose of one photo, combined with features from several others. It went through about three iterations before it finally felt right. I also had a contact who gave me regular (and very detailed) feedback. So I was pretty comfortable with the end result.

The Navy Chief

Oil on canvas, 20"x16", 2008

Apparently, though, I missed the mark. While it's a good painting, it evidently didn't capture something important of the likeness or the character. I never heard anything from the family nor my contact, so I have no idea what wasn't right. It's probably in a box in an attic now, if not a landfill.

Am I whining? No. It was a learning experience. I learned that posthumous portraits need to be handled with kid gloves. If I get it right, it's a wonderful thing for the family to have. If I get it wrong, it's another emotional burden on a family that already has more than it can handle.

Janis's Horses

Janis's Horses

Oil on canvas, 36"x48"

Janis's Christmas present is finally done. It came home this afternoon and is hanging on our bedroom wall now. This was a hard one for me to do - I've never done a horse before, and there was certainly a lot to learn. But it's done.

Over the past two weeks, I've gotten two exhibitions lined up. One will be at Wiesenblatt Gallery at Mars Hill College during the month of March. Actual dates are still to be determined, but I'll post them here as soon as they're firmed up. The other will be a larger exhibition at Flood Gallery in Asheville during August. This one will be a bit more raw. Both will feature my "Meditation on War" paintings with some new works. I'm very excited about both of these shows!

So now I'm beginning work on new paintings for both of these shows. Right now it's mostly conceptual: What needs to be painted? What stories need to be told? How are those stories best put into paint? Should it be more direct and in-your-face, or indirect and metaphorical? I think I'll be wrestling with these questions up until, oh, the first of August.

Horse Drawings

I'm still working on Janis's horse painting. I'm not ready to show it yet - there's still work to be done - but here are three charcoal and Conte crayon sketches that I did while trying to learn what a real horse looks like.

White Arabian

Charcoal and Conte crayon on paper

Profile

Charcoal and Conte crayon on paper

Running Arabian

Charcoal and Conte crayon on paper

I'm hoping to wrap up the painting in the next day or two. It's time to get it off my easel and move on to the next painting. I only work on one painting at a time, maybe two, which is admittedly a slow process. But that's the way I work.

Looks like a couple of irons that I've had in the fire are about ready to pop. I'll post the news here when it's ready.

Alex Kanevsky and Tom Richmond

Two artists that I've been studying this week are Alex Kanevsky and Tom Richmond. It's hard to imagine two artists with less in common than these. Alex is a Russian immigrant who studied at the Pennsylvania Academy of Fine Arts and makes deeply layered paintings. Tom is a Minnesota caricaturist who works for MAD Magazine. So, maybe I'm a bit schizophrenic, but my study time this week has been split between a painter and a caricaturist.

Alex came to my attention because he was the juror for a national juried exhibit of drawings at UNC Asheville. I looked up his web site and was tremendously impressed. Alex's figures are beautifully done with a combination of accurate drawing and loose brushwork that I find fascinating. They are individuals with a story to tell, although these are not narrative works at all. They're real people, filtered through Alex's head and many layers of paint. Many times, I've seen this "filtering" process filter out every ounce of the subject's individuality, but that does not happen here.

On Friday evening at UNCA, Alex gave a presentation about his work. It was a great opportunity to see inside his process: how he came to a particular subject, how he worked through it, how his paintings developed, and what he experienced. One comment really got my attention - I have to paraphrase it here - "painting on the edge of incompetence". The idea is that if you're working within your familiar bounds, you're boring, not learning anything, and just producing widgets. If you're painting outside your familiar bounds, you're incompetent: almost by definition, you don't know what you're doing. But if you're "painting on the edge of incompetence", then you're pushing your own boundaries, still having a bit of control but running the risk of having it crash and burn. And by definition, your boundaries just expanded ... regardless of whether the painting is a success or failure.

That applies to so much more than painting, doesn't it? I draw a parallel to downhill skiing. When I was first learning to ski, we had about a half day of training on the bunny slopes. Then we went right up to the top of the mountain, where all the slopes were intermediate or above. I fell a lot on the way down, but I learned a lot, too. Had to. I was on the edge of my incompetence the whole way, and had to invent for myself a way of skiing that would keep me upright for more than 15 feet at a time.

Alex's paintings may sometimes look simple, but they are far, far from it. In one section of his website, he shows how some of his paintings progressed from the first block-in to the final signed version. I was blown away by how radically the paintings could change from one stage to another. One stage would show a well-rounded, warmly-colored figure, while in the next the whole painting would be hidden beneath a cool, flat wash of color, with the figure barely discernible. Few artists dare show how their paintings develop, but Alex does.

So this was my introduction to Alex Kanevsky. For more insight into him, his work, and his techniques, read this interview with him on the Truant Johnny blog. It's worth your time.

Also this week, we got this caricature of our daughter-in-law. It's brilliant, actually. Trust me, this is Julie! So I got to thinking about caricatures. What is it about them that work? Everything about them is an exaggeration, which means they can't actually resemble their subjects, but still, we look at a caricature like this and instantly say "Oh, my gosh, that's Julie!"

I did some study of cartoons and caricatures many years ago, and came to the conclusion that good portraits and good caricatures are not that far apart. In both cases, you have to know what it is about that particular face that makes it unique: the shape and placement of the eyes, the tilt of the nose, the way a mouth curves, the way each part relates to every other part, and much more. Both portraits and caricatures have to have all these things right, plus that indefinable "something" that captures the inner character of the sitter.

So I started poking around on the net and quickly found Tom Richmond's website. Tom is an unbelievably talented and skilled caricaturist. One glance at his subjects, like Jon Stewart, and you know exactly who you're looking (and laughing) at. Tom now does most of MAD magazine's celebrity caricatures ... and in this world, there is no higher honor, except maybe the New Yorker.

What's just as impressive as his skill is his willingness to share what he has learned. His blog is a must-read for anybody interested in caricatures, or who wants to learn how to do them, or wants to know the business of cartoons and illustration. For example, if you go to the "pages" section and click on "tutorials", you'll find a five-chapter program that goes into caricatures in great depth. I mean great depth, better than any other book on caricatures that I've ever seen. I hope the guy puts it all together into a book, because it'll be in my reference collection as soon as he does. Because, as I noted earlier, the difference between a good caricature and a good portrait is not that great, and the things Tom tells you about in the tutorials can apply to a painting as well as an illustration.

So. Two very different artists. Two very different approaches. So much to learn, so little time!

Catching Up

Since my last post, there has been a lot of different, non-studio things happen that have occupied my attention. First and foremost was the shootings in Tucson. At present, it appears that the shooter, Jared Loughner, was a lone, literal nutcase. As more details come out about him, the only thing that's clear is that we have no clue as to why he did this. But that has not stopped the discussion on air and in the blogosphere.

The Tucson sheriff started it with his statements that the vile state of politics contributed to the shooting. Others jumped in, some echoing the sheriff and others loudly denying it. From my perch, it appears that Loughner did the shootings for reasons of his own that probably had nothing to do with whatever they say on Fox. However, I also think that the sheriff is right. I've been saying for some time that all sides need to cool down the rhetoric. Calling each other the enemy, putting cross-hairs on maps of opponents' houses, and other such statements are reprehensible. We're all Americans, for God's sake. We disagree about a lot of things, but none of us are enemies of our own country. The only thing divisiveness does is drive up the blood pressure of good, normal people, and pad the wallets of those who spew the hate.

Although it appears that political hatemongering probably didn't contribute to the Tucson shootings, the discussion about it is still very worthwhile. I've found two video clips and one blog that, I think, were very well done.

One is Jon Stewart. It's a helluva thing when a comedian is one of the most respected political commentators around, but Jon is. (Another of his ilk was Will Rogers, back in the '30's. One of Will's pithy observations: "I belong to no organized political party. I am a Democrat." Still true 80+ years later!) This particular clip is long, and you need to get past the first attempt at humor with John Oliver, but Stewart's comments are worth it.

The other video statement came from Keith Olbermann, the liberal voice on MSNBC. Keith denounced the tone of politics, apologized for any role he had in contributing to it, and called on others (with specifics) to do the same. It was a "have you no shame" moment for the new decade, powerfully done.

The blog post came from Paul Krugman, an op-ed contributor to the New York Times. Paul said he was not surprised that something like this happened. I agree. Even though Loughner is a nut job, it's the nut jobs that go over the edge first.

On the other side of the coin, Rush Limbaugh and Glenn Beck have been loudly denying any responsibility for anything whatsoever. They remind me of little boys standing beside the broken vase, crying "I didn't do it!" when you know damn well they did. Bill O'Reilly, to my knowledge, hasn't said anything. Sarah Palin has taken down some of the more inflammatory posts on her blog (good on her) and then went on to deny any responsibility like Beck and Limbaugh (bad on her). None of them have the guts to stand up, like Olberman did, and help move this country forward.

Okay, enough politics. I've been working away on applications for public art projects and art show submissions because I haven't been able to get away from the house since Thursday. We've had round after round of snow over the past month and, as I write this, it's still coming down. I'm getting a workout by shoveling the driveway every couple of days. Frankly, I'm getting sick of it - tell me again, when will spring get here?

Finally, we had a scammer target my wife's cell phone. Somebody (we have no idea who) managed to sneak a $9.99 charge for "premium data messaging" onto our cell phone bill the past two months. I talked to an Elizabeth at Verizon this morning (very helpful lady) who reversed the charges for me and blocked all other such charges in the future. An interesting twist: to stop the incoming messages, you're supposed to send a text message saying "STOP" to the number sending them. When I did so, I got a bounce-back saying that the number did not accept any incoming messages! Since I've blocked all premium messages anyway, no big deal, but that's their trick: send you text messages, charge you $10 a pop for them, and give you no way to stop them.

Okay, I'm off to shovel some more snow now.

Art Opening

Last night we did something we haven't done in a long time. We went to an art opening. It was at Blue Spiral 1 gallery in downtown Asheville and we had several old friends who are showing there.

One is Hunter Stamps. Hunter and I were in the Fine Arts curriculum at UNCA together, ten years ago now. He's now a ceramics professor in Lexington, KY. Hunter makes abstracted ceramic pieces that are based on the human figure. Over the past few years, he has started incorporating strong, vibrant colors in his work. Blue Spiral is showing quite a few of his works this month. I hadn't seen him in years and it was good to catch up with him again.

Another one we wanted to see was Hunter's lovely wife Amelia. She makes the most beautiful functional pottery - very delicate in appearance, with understated, soft colors, primarily a light green. We have a couple of her pieces at home. Amelia is the sweetest young woman and we had a great time talking with her.

Yet another one is Robert Winkler. Robert is ex-Bostonian, ex-New Yorker, and a sculptor of architectural forms. We worked together a number of years ago on a juried outdoor sculpture exhibit here in Asheville. He's an incredibly sharp man. Blue Spiral is featuring him in their downstairs gallery and it is a strong exhibit. I saw a lot of his works that I'd never seen before, things that were meant to hang on walls indoors. Very beautiful and exceptionally well done. I hadn't seen Robert in maybe three years and had a good time playing catch-up with him.

The art world is not really that big, and the art world in Asheville is really not that big. So if you go to an opening in this town, you're going to run into a lot of old friends. And since we hadn't been to an opening in years, we had a lot of people to talk with. We ran into Kyle Carpenter, who has a studio just down the road from mine. Just because our studios are within a quarter-mile of each other doesn't mean we see each other very often. Kyle makes really beautiful functional pottery - in fact, Janis had one of his pieces centered on our mantel.

We added two new artworks to our collection last night. One is a lovely little jar by Donna Polseno. In fact, if you go to her web site and look at the functional pottery, #15 is the one that is now on our mantel. Donna's ceramics go in a couple of directions: functional pottery with plant and animal motifs and figurative sculptures. Go take a look: it's some really beautiful work.

The other is a wonderful wood engraving by Andy Farkas. This particular piece (not on his website) spoke to Janis and me - to us, it was about the risk and joy of being an artist. Andy's work is incredibly well-done. It appears at first to be whimsical, but there's some serious meat to each piece. Each one is deserving of contemplation and study.

Life Drawing Again

With the holidays finally over, I re-started our life drawing sessions tonight. I had been going through figure drawing withdrawals. It had been a month since our last session, and it was time for a fix! So tonight, we had a new model. It was her first time working as a model, but she did a great job. And despite the forecast for snow, we had a good-sized crowd show up. We went with a single pose for the whole session, which was good for the painters. Here's what I came up with. I was pretty happy with my painting process - the color choices and brush selections seemed to be done automatically, with very little thought, the way it should be. Not a bad evening's exercise.

I'm still working on Janis's horses. This painting is a tough fight. Nothing is coming easily - not the color choices, not the brushwork, nothing. But it's slowly getting better. No, you can't see a picture of it yet. I'm learning a lot about horses, though. One of our neighbors has a couple of the critters, so I went over there and sketched and took a lot of photos. Janis took one look and put her foot down: "You are not going to paint a picture of those horses! They're nags!" She went on: "If you're going to put a picture of a car on your wall, are you going to put up a picture of a beat-up Chrysler minivan, or a Ferrari? It's the same with horses. So paint me a picture of an Arabian!" So I've been learning what an Arabian is, doing some drawings, and trying to get an Arabian horse to magically appear on my canvas. Maybe it will. I'll keep you posted.