The closest thing to having Alan Moore drop in for a studio visit. Feeling very grateful for technology right about now.
I have wished for the longest time that they fix the fucked up streets around my house, but now that they're finally getting to it, the house is constantly shaking and you cannot really draw on shaky surfaces. At least not with any level of accuracy.
Is this shaking normal, or does it speak to the fragility of my home's structure? Or is it just the nature of the once-swampy grounds upon which it is built? Likely both, I reckon.
On Chapter 10 of Alan Moore and Jacen Burrow's PROVIDENCE which already had me on shaky ground before the Earth beneath me literally started to tremble.
The Moody Center for the Arts in Houston celebrated its 5 year anniversary with an auction in which I was honored to donate a work of art to (pictured in the image above, left-hand side). The mixed media piece, titled IMMIGRANT BLUES #2: THAWRA is part of a larger series, IMMIGRANT BLUES.
#4 and #5 are in the possession of the Arab American National Museum in Dearborn, Michigan. #2 is in the possession of whoever won the bid at the Moody auction, which only leaves me with #1 and #3 right now.
When embarking on this series, I did have in mind that it's a theme I might want to revisit... forever? But now I'm not sure I'm feeling them immigrant blues no more. Will it last, or is this alleviation merely temporary?
I suppose only time will tell.
Worked late till 2:00 am last night and up 5 hours later to the joyous babysong of child. Up for 7 hours now, “working” but can't for the life of me make out anything of significance I might've gotten done today. Might as well give up and call it a day of unwinding and recharging. Should've made this decision earlier because I just remembered I have a real live meatspace meeting in an hour.
Two books on my reading lap these days, both comix that I dip in and out of rather casually, and both couldn't be more different from one another: PROVIDENCE by Alan Moore and Jacen Burrows, and Steranko's NICK FURY AGENT OF SHEILD ARTISAN EDITION.
More on those soon.
Before:
After:
This seemingly minor upgrade comes with two rather significant benefits.
1) Efficiency: Whereas before there was only room for two stacks, the new system allows for three; New Unused Paper (bottom), Penciled Pages (middle), and Inked Pages (top), all conveniently within reach just under my tool side-table. These of course only pertain to the issue/chapter/project at hand. All previously finished chapters go into the flat files in the garage.
2) Mood elevation: I don't know about other people, but if my place of operation is schlubby, then my brain and general demeanor is schlubby. And a box with a stack of paper on it as a method of organization? It's schlubby. This may be the designer/borderline-OCD in me, but an improperly designed space just ads to my brain fog and keeps me from being able to think straight, and thinking straight is key to the type (and quantity) of work I do.
I've recently come to the decision that an artist's space need not be treated any less than a temple of creativity. Not to sound pretentious or anything, but if you think about a temple or any place of worship, it's design will always have two chief concerns: a) Functionality, and b) Atmosphere
Very practical decisions are made pertaining to seating arrangements, pedestal placement, so on and so forth, all of which have to do with the actual rituals and actions that need to be performed within such a religious space. Very functional stuff. And then, there's the stuff pertaining to atmospherics that might aid in creating a certain spiritual mood. Things like stained glass, murals, inscriptions, or the choice of incense.
It's probably a good idea to take these two chief concerns into consideration when setting up any artist's space as well. Except, rather than be shaped by religious motives, they are instead shaped by creative concerns. Everything needs to be designed as per the artist's functional needs, but the atmosphere must also be designed to inspire creativity. These two together will inform a workspace that will help an artist work seamlessly day in, day out.
For the curious, the two pieces of furniture utilized in pix above are: – Giantex Mobile End Table – Three-Tier Shoe Rack
I was asked to paint a mural at Atlanta's Carlos Museum, so I painted my son. More pics and info on Ganzeer.com.
“Mural” is a bit of a deceptive term here though—just a bit—because they are painted on canvas rather than directly on the wall. But, the way the canvas is installed and by extension how they are painted on, is all quite muralistic, so I guess it counts.
Also, a Gallery Talk with curator Amanda Hellman about the work in this video here:
It is entirely possible that this file is cursed. Second time in the span of 2 days this has happened. Last time resulted in a corrupt file that demanded I repeat a few days work from scratch.
I have, as of late, become rather obsessed with things that work well. Not just well, but as best as they're supposed to. This has resulted in a number of updates around the house; a couple of Made In non-stick pans, an electric pencil sharpener, electric eraser and mini vacuum cleaner for the rubbings, things like that. Because things that work as they're supposed to means a more efficient existence (seriously, those non-stick pans have saved me much time on unnecessary pan scrubbing).
Now whatever's going on with this cursed file really throws a wrench in all my attempts at efficient living, but I suppose that's just the universe's way of striking down and hahaha laughing at my face and telling me no matter what you do, Puny Human, you are not in control and you never will be hahaha!
There have been a few of these sorta things and it's been difficult to keep up with posting announcements, let alone remember them, but a virtual gallery talk will commence tonight at 7:30 pm EST with curator Amanda Hellman in conjunction with my work at Carlos Museum's AND I MUST SCREAM exhibition.
Back in Houston where I thought I would defrost, but no. Naturally, the winter freeze followed me here. It is on days like this when no amount of coffee is enough and I seriously consider shelling out on a fancy ass espresso machine I can command with my phone.
Atlanta. The South, where it should never go down to 0°C/33°F but is in fact 0°C/33°F. I will have to abandon the trusty electric Spin bikes I've been relying on for most of transportation thus far, on my last day in this glorious city, where the trees are tall, hills are numerous, and clubs are a-thumpin' (not that I would know, being the Covid-conscious fellow that I am).
Last day in the city before I embark on my return to Houston tomorrow evening where quite a bit of work awaits me. THE SOLAR GRID has been almost continuously on hiatus for the past six months due to a cascade of paying work, which is not at all something I'm proud of. I have one more obligation in the way (approximately 2 weeks worth) before the coast is clear for full on TSG immersion.
Today is a day worth noting, because it marks the first time in a long time that I am actually on time finishing a thing for a change.
Wrapped up my mural at Carlos Museum in Atlanta a little after noon, giving us ample time to fiddle with multiple lighting options until we settled on the most unusual (obviously 🙂).
Also: Received good news from the publisher [that will not yet be named] in regards to my also unusual treatment for the print incarnation of my CRISPR THAN YOU story (previously STAYING CRISP).
I will reward myself with a much needed visit to my chiropractor followed by a bowl of Ramen somewhere with a patio. Won't survive being outside for long however, because of course the gods brought down an unusual discharge of winter on Atlanta to coincide with my visit just to fuck with me.
Nay, I will return to my AirBnb and read in solitude. Quite a lot of solitary time this work trip actually, which is quite unusual for me but to be expected given the plague [that will also not be named]. Quite apt in a way that the book I brought with is titled ALONE AGAINST TOMORROW.