Cityscape Show at the George Billis Gallery



Please join me this Saturday, July 8th from 5 to 8 PM for the opening reception of The Cityscape Show VII at the George Billis Gallery/LA. ••• This annual exhibit offers different interpretations of Los Angeles and Southern California by the gallery's many talented artists and invited guest artists. I am excited to have several of my pieces in the show this year—that is one of mine on the left of the postcard. It is always a great show, so come by and see all the great work!
The Cityscape Show VII
July 8 - August 19, 2017
Opening Reception: Saturday, July 8th, 5 - 8 PM
George Billis Gallery/LA
2716 S. La Cienega Boulevard / Los Angeles, CA 90034 (Google Map)
310.838.3685 / www.georgebillis.com
Summer Hours: Tuesday - Saturday, 10:00am - 5:00pm

Vespa Girl

11"x14" oil on canvas C'mon! A tin toy vespa girl in capri pants and striped socks and sporting a wickedly aerodynamic hairdo that could slice a block of butter. This must be one of the coolest toys ever produced. How could I not paint it? Wait... Wait... I'm geeking out! After stepping away from the computer for a bit, I have returned in a calmer state. One should be calm whilst typing one's inane commentary. Don't you think? As I have stated in the past, I tend to not take process shots, but for some reason I took this one. I call this phase "knocking in" or "blocking in." (The judges would also accept "smooshing in.") With a smaller piece like this one, knocking in is what I do in lieu of a drawing. Just dive in and smoosh it and move it about a bit. The drawing takes care of itself. To the casual eye this method would make me appear somewhat insane, and the casual eye would not be far from correct—I would just suggest substituting "absolutely" for "somewhat" to make it a more accurate diagnosis.

Cityscape Show VII at the George Billis Gallery
I will be having several pieces in this wonderful group show. The opening reception is going to be Saturday, July 8th from 5 to 8 pm. It is always a great show, so, if you can, please come and check it out. I will put the address below and don't worry, I will be reminding you of the show again next week.

George Billis Gallery / LA
2716 S. La Cienega Boulevard
Los Angeles, CA 90034 
310.838.3685 / www.georgebillis.com
Posted June 9, 2017  
 

Maneki Neko

32"x48" oil on canvas That beckoning cat is 4' tall! Well, the actual cat in the painting is more like 38" tall, but come on... that is still a dang big cat. And, as the detail shots illustrate, it is composed of a lot of smooshed oil paint. There was a time when I thought about cutting back on using so much paint. While Clan Logan has several Maneki Neko in our employ, the model for this painting is the only one residing in my studio. I have grown used to its somewhat vapid stare and only talk to it on occasion. Like the time I was thinking about cutting back on the amount of paint I use. It just laughed and said, "Use less paint? Ha! I think you should use more, baby! Oh, and another thing: Go Big or Go Home! —and see if you can't get some more cookies in here." (A conversation with an inanimate object that adds yet more evidence that I need to improve the ventilation in my studio.) If you would like to learn more about Maneki Neko, please find the following link to their Wikipedia page: en.wikipedia.org/wiki/Maneki-neko. Whilst I view Wikipedia as a specious source of information, it is the easiest way for me to share.

Posted June 9, 2017

Mayfair Clock

11"x14" oil on canvas Let me start off by typing that I probably should not have procured this little wind-up clock—it does not even work. But... I was itching to paint a clock and something made of wood AND it is pretty cool looking. So, I pulled the trigger and will now add it to my ever expanding pile 'o' stuff. My "collection" is a kind of "Museum of Insanity" consisting of items I think, or at one time thought, would make great subject matter for a painting. Do not ask what my aesthetic criteria are. I do not really have any, unless you count me saying (to myself), "Wow, that looks really cool. I wonder if I can get it past The Spousal Unit without Her noticing that big brown box it will come in sitting on the porch." and "I wonder if The Spawn will rat me out?" as criteria.

Posted June 2, 2017

Edgar Allan Poe

46"x46" oil on canvas I'm torn between writing about the above painting or about how The Spousal Unit has developed a nasty habit of coming into the studio and taking unauthorized pictures of my work (e.g., see the photo above of my under drawing of Mr. Poe's eyes). You will notice I did not accuse Her of sneaking into the studio. There is no need to sneak, because, quite frankly, you could crash a train into the studio while I'm painting and I probably wouldn't notice. Since I do not want to risk miffing She Who Supplies Me With Cookies, let's talk about the big painting of a dead guy. (Yes, I know it is a bad habit of mine calling them my dead guy paintings, but let's face it, I am a walking bad habit.) Mr. Poe is a seminal personage whom I revere AND he had a forehead the size of a dining room table, so how could I resist painting him? This painting is actually the third in a series of three big dead guy paintings I did. The other two were Albert Einstein and Abraham Lincoln. My intention was to have all three displayed together in an upcoming gallery show. A "Raymond's Wall O' Dead Guys" kind of thing (see picture below). The problem is—and it is a great problem to have—the other two gentlemen sold before the show. As it was, Mr. Poe went solo to the show while he was still technically wet. You know, I shouldn't complain about The Spousal Unit taking Her photos. The Abraham Lincoln piece sold from a picture She showed a collector on Her iPhone. Cell phones are not amongst my favorite things, but I have developed a fondness for that particular phone. I was already very fond of the phone's owner.


  
Posted May 26, 2017

Raymond in Beverly Hills Art Show


The Beverly Hills Art Show
May 20th & 21st 10 am to 6 pm both days
SAME PARK, DIFFERENT SPACE. For my regulars: I will be in a different part of the 100s park. My space #130 is in the center of the park. (See map below.) The 100s is the first park on Santa Monica Boulevard between Rodeo and Beverly Drives.
Four parks filled with artists with their art—kind of like a Disneyland of art. Come, check it out.
For more detailed information about the show (e.g., maps, times, parking, food, list of artists showing, etc.), visit the City of Beverly Hills website at
www.beverlyhills.org/exploring/beverlyhillsartshow/artshowinformation

Posted on May 17, 2017


Raymond at Beyond the Lines Gallery

A tandem exhibit at Beyond the Lines Gallery featuring the work of Jan Lord and Raymond Logan.
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Title: In the Midst of Colour
Dates: May 13 to May 21, 2017
OPENING RECEPTION
Saturday, May 13, 2017
6-9pm at the Beyond the Lines Gallery
Beyond the Lines Gallery
(inside the Bergamot Station gallery complex)
2525 Michigan Ave, Building G#8, Santa Monica, CA 90404
www.beyondthelinesgallery.com
Gallery Hours: Tuesday-Saturday, 12-6 pm / Sunday, 1-4 pm

•••••

Bergamot Station is a unique, mutli building complex of art galleries located in Santa Monica, California. Beyond the Lines Gallery is located in the "G" section (see map below). For more information about Bergamot Station, check out this link: www.bergamotstation.com

•••••

 

 

Posted May 10, 2017

 

Wollensak Model 46 Movie Camera

12" x 12"  oil on canvas I do not want you thinking that I do everything The Spousal Unit tells me, but... The background of this painting was gray—well, my version of gray anyway—until She Who Must Be Obeyed walked into the studio and gave it one of Her looks. BAM! The artist changed the background from gray to red—well, my version of red anyway. You are probably thinking, "What the heck? Two movie cameras in a row. What gives, Raymond?" All I can say is that due to my somewhat addictive behavior (that I am not seeking any professional help for), the studio now has several—let's keep it vague at several—old movie cameras residing in it. That means more movie camera paintings are coming down the pike. Do not ask me when, I have no idea. They will happen when the muse grabs me by the throat and throttles me until I relent and paint them. Yes, my internal muse can be a bit violent.

•••••
Month of May Happenings
I have two shows and high hopes that The Spawn will remember Mother's Day! (I am not holding my breath on that last one.)
•••••
Beyond the Lines Gallery - Bergamot Station
(http://beyondthelinesgallery.com)
The title for this show is In the Midst of Colour. It will be a two person show, what the art world now calls a tandem solo show, with Jan Lord and me. Beyond the Lines Gallery is located in the amazing Bergamot Station gallery complex. Show: May 13th to 21st. Opening reception Saturday, May 13th from 6-9 pm. More info to come.
•••••
The Beverly Hills Art Show
(http://beverlyhills.org/exploring/beverlyhillsartshow)
The big news about this upcoming show is that I will be located in a different space. I will be in the same park—the 100s—but I will be in the middle of the park rather than near the southeast corner. Space #130 will be my new home. So, if you are a regular, remember to look for me in the middle of the first park between Rodeo and Beverly Boulevards. Show: Saturday & Sunday, May 20th & 21st / 10am to 6pm both days. More info to come.

Posted May 4, 2017

Mansfield Holiday II Movie Camera

30" x 30"  oil on canvas The difference between how I look at my work and how other people view my work is sometimes... amusing to me. More than once, somebody has expressed interest in eating one of my paintings and the piece you see above was—at least a couple of times—identified as a toaster. It is a rather old movie camera, so anybody would be excused not knowing what it is, but when somebody wants to fight with me to prove that it is, in all actuality, a toaster? Well, it leaves me puzzled and wondering if I should have painted a couple of pieces of toast popping out of the top (a nice sharp rye, I love rye bread). When I view the painting above, I see a battlefield. To be more specific, I see the side of that dang camera (go ahead, call it a toaster) as a battlefield. If you think my only obsession is color, you haven't seen me obsess about how light travels across my work and my Herculean struggles with tonality and how my color work only makes it harder to achieve. I completely repainted the side of this camera no less than five times. And I mean completely. Every inch, just to minutely adjust the light traveling across it. So, when somebody comes up and says they want to, "...just take a bite out of it!" or that it is a really, really cool looking vintage toaster, all that is going through my addled gray cells is the memory of the gooey battles that took place over and over again across the side of that camera. That is until they lean forward with their mouth open. That usually gets my attention.

•••••

May is shaping up to be a crazy month.
Why crazy? Well, I have been judged into the wonderful Beverly Hills Art Show happening on the weekend of May 20th & 21st. On top of that, I have been asked to be a part of a two person show at the Beyond the Lines Gallery at Bergamot Station in Santa Monica. It is a spur-of-the-moment show, but it is a great opportunity and am gratified to be asked to be one of two artists in the show. Two shows in May is enough—I think—to qualify it as a crazy month, but ladle on top of that the fact that I chose now as the time of year to rearrange my bomb scene of a studio and you get complete insanity. As usual, over the next couple of weeks I will be punishing you with information about both shows, so keep an eye our for my emails.

Posted April 27, 2017

Raymond's Updated Website

I keep a to-do list next to the computer here in the studio. Let me make one thing perfectly clear: I despise that $%&#@ list. Like most people, I have utilized lists for most of my life. But my relationship with my to-do lists has been... How shall I put it?... tense. To-do lists, to me, are the epitome of pressure. They are wicked nags that glare at you like that horrible boss you had at that (fill in the blank) job you had in college. At least with that old boss, you found out later that they glared at you because they couldn't see properly and refused to wear their glasses. A to-do list glares at you and it is judging you. To-do lists also have a nasty habit of growing. "Oh, good boy. You ticked something off me. Now, here are 25 more things for you to do!" The reason I am whining about my studio to-do list is that updating my website has been on there for quite some time. It seems like years. Well, I finally did it. It is not much of a change—I really just wanted to make the images larger and maybe add a few detail shots. Please go take a look at it (www.raymondlogan.com). I am not sure about all the pictures, but it is at least a start AND I can finally flip the bird at that $%&#@ list. Metaphorically speaking, of course. ••• My consistent butchering of my native tongue may lead you to believe that I do not take language seriously. To prove the opposite, I would like to cite the noted Merriam-Webster editor and lexicographer Kory Stamper*. She informs us that the German word for a lower-back tattoo is 'Arschgeweih,' which literally means 'ass antlers.' Now, that is serious linguistic information we all can use!

*Stamper, Kory. Word By Word: The Secret Life of Dictionaries. Pantheon, 2017 
Posted March 29, 2017

Kathy's Nikon S2

4" x 6"  oil on masonite   It has been quite a while since I have shared one of my mini (4"x6") pieces with you. It isn't that I haven't been painting them, I have. As usual, it comes down to photography. Or, to be more precise, taking the time to photograph my work—it is not one of my favorite activities. So, a painting of a camera seemed like an appropriate piece to reacquaint you with these minis o' mine. (Sorry, no detail shots. These pieces are too small for my camera or phone to successfully shoot up close.) Most of the cameras I have painted in the past are older than this one, and considering that this camera dates from sometime in the mid 1950s, it is absolutely space age in comparison. A cousin of ours loaned it to me and, quite frankly, I was on the fence about painting it. But it grew on me. So much so, that I did a larger version of it after I did this mini. I would like to thank our cousin Kathy for loaning the camera to me and compliment her on her extreme patience.
  
Posted March 17, 2017

sold • private collection thousand oaks, ca


1957 Chevy Truck Gauge Cluster


40" x 60"  oil on canvas (WARNING: Many would consider the following commentary to be obnoxiously long. So, if you have a pot on the stove or are performing emergency brain surgery, you might consider not reading this.) I was not even going to show you this piece today, but my mood shifted and I thought I would go out on a limb and actually type about my painting instead of continuing my incessant diatribe about the devastating cookie shortage going on around here. The above piece represents a sort of aesthetic leap. One always hopes that how you paint a piece can override a viewer's prejudice against the subject matter. For some reason, anything having to do with automobiles immediately turns off certain people. They encounter one of my "car" pieces and it is as if the piece does not exist. Don't get me wrong, I recognize that humans have distinct artistic tastes (though the amount of people who do not like paintings of toys kind of freaks me out) but the size of the "anti-car" group is astonishingly large. However, there appears to be a mystical size barrier that, when crossed, magically changes a piece from a mere subject-specific painting into a piece of "art." This old Chevy truck dashboard cluster is so dang beautiful that I decided to push it and play with the mysticism of scale. In a sense, I chose to make an aesthetic leap. The above digital image cannot truly relay scale, but when viewed in person, this five foot wide piece seems to have crossed the scale barrier. While it did not break through to everybody, this large wall of goo did reach many viewers that I think would not have been reached if the piece had been smaller. They did not seem to care that it was a "car" painting and liked it solely as art. I suppose that if I stuck to painting just one subject I could avoid my numerous encounters with people's varying tastes. That constraint is unlikely considering that limiting myself to painting just one thing would probably drive me to put a slug in my dome. (Not going to happen.) I do not paint in a "classical" fashion and pushing my style of painting larger presents many distinct challenges—limited time horizon not being the least of them. Those challenges make my larger pieces arduous marathons that leave me wiped out and desperately seeking more cookies. (Don't act surprised, you knew I would somehow bring this commentary back around to me and my important relationship with cookies. Now, if I could only get The Spousal Unit to read these commentaries. Actually, it might be better that She usually doesn't.).
  
Posted March 10, 2017

Raymond's Box Cameras


5' 10" x 8' consisting of 28 oil on canvas pieces each measuring 16" x 12" Painted over the course of approximately two years, this project was a heck of a challenge, took 56 dry wall screws and a good eye to hang, and, at eight feet wide by almost six feet tall, became a show piece at my LA Artcore gallery show. A lot of people just stood there staring at it and that is always gratifying. (Whether they liked it or were just thinking I was completely insane is anybody's guess.) Now, please excuse me while I go hunt for more box cameras.
  
Posted February 18, 2017

Wind Up Tin Toy Robot One



12"x12" oil on canvas Still on the fence about what to name these robot paintings. For now, I have defaulted to naming them either by the order in which they were painted or how they look best lined up. In any account, this chartreuse headed, one eyed fellow has been designated "One." You may remember me writing that these tin toy robots were in essence painted by royal decree and that there was to be a series of three. Well, The Spousal Unit's edict still stands and it has (possibly) been extended to a series of five. Right now, I have three done (see below). I say possibly because while many artists base their decisions on what to paint based on aesthetics or lofty inspiration or innate artistic drive or all of the above, I base at least some of my artistic decisions on the amount of brownies I am fed. Yes, in such situations as these I respond to culinary bribery. It may sound base and uninspired (and fattening), but what the heck, it works for me!
  
Posted February 9, 2017


Ernie Jr's Taco House

12"x18" oil on canvas You may remember my painting a smaller version of this. In the commentary for that piece I mentioned that the prompt for me to paint the sign was its impending destruction—it seemed like it was going to be razed at any moment. Well, that was back in May or June of 2015 and the derelict restaurant is still there with its stalwart, yet somewhat worse for wear chain link fence faithfully standing guard. It would appear that Lady Progress takes her own sweet time in Eagle Rock, California.
  
Posted February 2, 2017

 
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