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16"x20" oil on canvas. • Did I show this to you before? My chemically addled mind (and I mean 'chemically addled' in the most innocent of ways) can't seem to remember. I am so far behind in the process of photographing my work, that I seem to have lost track. I was dropping it off at The Sycamore Gallery last week, and it dawned on me that I did not share it with you. Well, here it is: a camera bigger than your head.Posted February 22, 2012
4"x6" oil on raymar panel. • Have a great weekend!Posted February 17, 2012
6"x4" oil on raymar panel. • I was toying with the idea of painting this a little bit bigger. And whilst I toyed, I painted this little piece.Posted February 14, 2012
6"x4" oil on raymar panel. • This painting represents the possible downside of hitching your wagon to an artist. Here is a hypothetical scenario (remember, I said hypothetical—I admit to nothing): You're rushing to get ready to go somewhere when you just can't seem to find your $%&@# left shoe. Where the heck is it?!?! Then it dawns on you that your spousal unit (no caps) is a kleptomaniac artist. In defense of the artist, I must say... COME ON! The inside of the shoe is chartreuse! How does anybody expect an artist to resist painting a chartreuse shoe. Clearly, the victim is to blame here for having such cool looking shoes.Posted February 3, 2012
6"x4" oil on raymar panel. • The first things that attracted me to this location were triangular shadows that crossed the parking lot and the white round sign on the building that said "Manakin Tattoo." Well, the shadows didn't even make it into the painting and the sign is so small that the type does not even qualify as ant scrawl. This painting does prove one thing: Presenting me with a relatively plain brick building and a plain asphalt parking lost is like giving a one-pound dark chocolate bar to a hyperactive child—plain surfaces are just another opportunity for me to spaz out when I paint. Where is Morandi's ghost when I need him? (And yes, I would love a one-pound dark chocolate bar. Nothing less than 72%. Pleeeeze.)Posted February 1, 2012
6"x4" oil on raymar panel. • Egad! An artist talks a bit about his mistress and his email box soon becomes flooded. (Thanks to all who commented about the truck painting.) If the revelation of "The Other Woman" bothered some, it will bother them even more when I say that I reached inside her, tinkered a bit, and removed six of these. I couldn't help it, she's a boozer and tends to enjoy a rich mixture, thus often fouling her plugs. She's a lush, but I love her. What's more pitiful is how the artist (that would be me) rolled around six dirty spark plugs trying to make up his mind as to which would be the best subject for this painting. Posted January 26, 2012
4"x6" oil on raymar panel. • The title says it all. She's 63 this year and I am the third Raymond to grapple with her.Posted January 25, 2012
sold • private collection batesville, va
4"x6" oil on raymar panel. • Just an unassuming little red house in San Luis Obispo. Being on Higuera Street, people probably don't see it at all when they are casually traveling at 200 mph down the lane.Posted January 24, 2012
10"x8" oil on canvas panel. • This was going to be tomorrow's painting, but I got fidgety (something that happens quite often) and I'm showing it to you today. Have a great weekend!Posted January 19, 2012
4"x6" oil on raymar panel. • Yet another San Luis Obispo barn to torture you with. That fence and a surly field hand, made it so this was as close as I could get to the noble structure. Oh, and if you were to turn about 90° to the right, you would be looking at the San Luis Obispo Country Club's golf course.Posted January 18, 2012
6"x4" oil on raymar panel. • This painting proves two things: I love old Chevy panel trucks and that the crew that painted the "3 HR PARKING" markers was somewhat, if not completely, inebriated when they painted them. This beauty (and yes, I wish it was mine) was parked in the Ventura Harbor parking lot. That is Andria's Seafood Restaurant in the background, one of my favorite haunts. There is nothing quite like painting the sublime insanity that is a chrome grille.Posted January 17, 2012 sold • private collection balboa island, ca
4"x6" oil on raymar panel. • Okay. If you are standing there in Edna, California looking at the tractor in yesterday's painting and you turn about 70-80° to your right, you would see this barn and water tower. Without a GPS, that's the best I can do for you.Posted January 11, 2012
4"x6" oil on raymar panel. • I was going to call this "Edna John Deere Tractor," because it is located in Edna, California, but it sounded weird. Then, I thought, I will call it "Dear John Tractor," because it was sitting in the field all alone. When I reread that title, I realized it was so bad that reading it hurt my ears. You know that you have written something really awful when it hurts your ears when you read it with your eyes.Posted January 10, 2012
4"x6" oil on raymar panel. • This is my last post for 2011. It has been one heckuva year. I painted a lot and still ache to paint even more. I guess that is a good way to head into the new year. As is my usual practice at this time of year, I will be taking some time off from posting—maybe a week or two, so don't be surprised when you don't get emails from me next week. Just be surprised when you DON'T get an email from the Spousal Unit notifying you that I have landed in a Mexican jail or something like that. That last sentence alone is proof that I need a break. • Happy Holidays! See you in the New Year.Posted December 22, 2011
10"x8" oil on canvas panel. • Before I launch into the useless tirade below, let me lay this disclaimer before you: Realism holds no sway in my art. I am sure there is a very deep artistic meaning in that statement, but my waters are running a little shallow today, so no more on that. • If I were to teach portrait painting, I would consider Marissa a perfect model. There are certain elements on our mugs that define us. Yes, there is the overall shape, color of the hair, blah, blah, blah. But what I am talking about are things such as the space between the bottom of the nose and the upper lip; where and how the light hits that part of the nose between the eyes (I think the anatomical term for that part of the nose is "doohickamabobber"); the shape of the nose and lips, etc. On Marissa's face, these elements are wonderfully descriptive. Maybe I'm bringing this up because I have watched many artists paint her and totally ignore these elements—instead, applying some other standard shape. • Here comes disclaimer No. 2: Now, like me, those artists are probably utilizing the model in front of them for their own purposes—I am guilty of it myself (a lot)—but what a wonderful face to waste by completely homogenizing it. That is the "Please don't send me nasty emails" disclaimer. • Sorry for the Monday-like rant on a Tuesday.Posted December 20, 2011
