Jona8than Green Art and Other Things

For a while I thought my scanner actually did a really good job scanning in images. Which it did with the last bunch. These are really washed out though. I think, just a guess, but it might be due to not having any actual real blacks in them except one.

I have recently acquired an etching press. So recent that it's not even on my property yet. But will be very soon, through some combination of rigging, three young men power, and a possible me pushing a press down the main street in my town.

It came to me through the great Michael of St. Michael's Printshop, whom forwarded me an email from a woman looking to unload a press. She wanted it out of a building she was selling and wanted to see if they wanted it, if not then the scrap yard with it. So fee taking.The amazing part of it is that is in my hometown, where I am currently splitting my time between.

It is even more to my amazement that only a two months ago I had heard that a friend of mine had recently received a free for taking press with other paraphernalia. My GF C had said “Maybe one day I would get a free press” to which I had my doubts.

Yet now I have a press. From some research and a quick email to Perry Tymeson, press engineer and of Suitcase Press, turns out to be a early model Praga, perhaps pre production. Late 60's early 70's. Established in 1963, Praga was based in Scarborough, Ontario, Canada. Good quality press but the company folded sometime in 2005 or 6. It is about 2ft wide approx. The bed looks to be 18" x 36".

There is some rust on the cylinders, little on the sides and the inside of the big wheel. But it spins smoothly as do the cylinders. The bed is in good condition, some rust on the bottom. Going to take some sanding and polishing to get in ship shape. But besides that I think that is all that needs to be done, a bit of lube here or there, probably a paint job on the wheel and base. Definitive putting some casters on the base for easier transportation.

I have put some thought to customizing it. Paint wise at the max. Maybe a red stand and wheel? That mint green I like so much? Purple? Too pop? Maybe a dark blue, metallic? Thought about spinners like on car wheels, or getting some kind of steering wheel grip for it. Pimp it.

Perhaps there is something wrong with me. It would be fly tho.

Going to be a long term project. Storing it next door in my aunt's garage. Might be a bit cold working on metal in the next few months. I'm excited about it even though I know it will be a while before I can set up my own shop. I got one of the biggest pieces to start with when I do.

Dark green?

Pictures of a new print. "Outer Dark" Intaglio [Etching, aquatint] 22" x 30" paper size. Unsure bout the purple one, might just make a few copies for myself. The darker one will be for editioning. Just bought one over to the Leyton Gallery for the Christmas Show.

the rules ... should you decide to play along and are one for rules ...

Don't take too long to think about it. Fifteen Artists who've influenced you and that will ALWAYS STICK WITH YOU. List the first fifteen you can recall in no more than fifteen minutes. Tag fifteen friends, including me, because I'm interested in seeing what artists my friends choose. (To do this, go to your Notes tab on your profile page, paste rules in a new note, cast your fifteen picks, and tag people in the note.) Quickly, and in no particular order:

1. Ed Pien

2. Giacometti, Alberto

3. Marcel Dzama

4. Rembrandt

5. Max Beckmann

6. Peter Doig

7. Ian Francis

8. Oliver Lutz

9. Will Gill

10. Larry Rivers

11. Kiki Smith

12. Robert Rauschenberg (especially erased DeKooning Drawing)

13. Joseph Beuys

14. Rachel Whiteread

15. William Kentridge

16. Phillip Guston

A bit of a sausage fest...

I have recently gotten some instructional videos for a variety of subjects. Mostly for woodworking like cutting dovetails, planing wood, furniture making, etc. Also one on Painting by Daniel Greene.

Daniel Greene is a pastel and oil painter in America. I have known about his work for a while from some art magazines. Very realistic academic painting, mostly portraiture. I like the work for what it is, and definitely think he is a proficient painter.

Funny enough I used to scorn these videos years ago. Thought they are overcharging and just aren't that useful to the beginner. Most beginners will get one expecting to watch the videos and get instant results. They are fairly expensive as well. They can be quite helpful in some cases and I feel one can use them to good effect. Especially if one has had some art training and can process the information the way they want to.

So why did I get this video?

I want to get back in to painting. I did a fair bit of painting in art school but have yet to do any painting since leaving school. Not a big deal as I have been doing my drawings and printmaking, achieving some success with it. There are some things I am unable to achieve with intaglio, I could possibly do it with lithography-but I don't like to suffer.

I learned a lot about painting in Grenfell, good instructors. The type of painting was classified as modern, perhaps under the term of alla prima. I would of liked to learn some more traditional types, more academic painting. It just didn't happen.

Not that I want to be creating highly realistic or academic paintings, but rather I want to use some of these techniques. I really enjoy the paintings of Ian Francis. British artist, very interesting paintings. Interplay between abstraction and figurative work. I feel my work is realistic and flirts with semi abstract elements in my work. I want to push this but I need to hone both – figurative and abstract.

Thus the video. Then of course, the practice.

I have always been caught between dualities. I like very minimal architeture and design but also very cluttered vernacular Newfoundland architecture, sleek fashion but then also plaid. I want an old wooden desk and only my Mac on it. Instead of fighting these dualities I figure I should stride both of them.

Going to try this painting video out. I'll post whatever results I create here later on.

The woodworking videos I have watched already, just waiting on getting a new saw and as well as a space to start attempting some dovetails.

And I think Gaia's work above inspired my own thoughts on doing something like this in Newfoundland.

What I would like to do is large scale woodcuts and lino on paper, pasting them. No different than what they're doing. My subject matter would be the ghosts and supernatural that are so plentiful in Newfoundland. There are numerous accounts of the strange in St. John's and around the bays. Such vivid imagery in some. Post them near where they happened; the streets, houses, harbours ,etc. These ephemeral beings hiding out waiting to be seen. Life size or larger than life to create an impact.

I think the subject matter and the materiality would work very well together. Same vein as Swoons and Armsrock work, but giving shape to what has no shape. Yet only then for a while.

There is the issue of it being graffiti. Not a big issue for me as I think it is art, bu more just a decision of whether or not I want this work being traced back to me. Like would I sign it? Would I work under anonymity incase of legal matters? Can one actually be anonymous in St. John's/Newfoundland?

Not big problems, and not one I am going to let stop me doing what I want to do. Deal with it when I need to.

I would like to do the Springheel Jack story first. Great imagery in terms of the costume. Be superb even to post him on top of buildings.

I see this as a fun project, not really serious work though it will be hard work carving the blocks and printing. I don't see it going any farther than what is stated here. I can't see it being in the gallery. Just a project. Like I would never do paintings of this subject, but I wouldn't do a mural for the city either. I just want it to be this.

Finding time for it now might be something else...