Saturday, December 31, 2016

Hindsight is Insight


"Making America"
oil on canvas
11" x 14"

I wrote a lot about this painting and how it's not a political statement.  When I read it back, it all sounded awfully political.  It's funny...I feel more satisfied about my discussion of a topic after writing something I believe to be truly discerning, deleting that something, and then letting everyone know I replaced my attempt at intelligent writing with the acknowledgement of failure and my actual lack of insight.  I'm not sure that letting you know I'm incapable of writing out my thoughts is well-conceived, but it does seem to reinforce that old saying, "a picture is worth a thousand words".

Honestly, painting pictures lets me feel as if I'm saying something without actually tying myself to a certain sentiment, but I really know it's about the viewer saying whatever they want about me saying nothing at all.

Thursday, December 29, 2016

Ducks in a Row


"Refinery"
oil on canvas
22" x 28"

I meant to post yesterday...and the day before that...but, I've been drawing a blank.  Actually, I've been doing a lot of "housekeeping".  Let's see, I've been cleaning my studio spaces, reorganizing the archives, boxing up the last of the "bargains", visiting FedEx, stretching canvas, editing photos...the list goes on and on.  It's boring so I'll stop boring you.  As much as I hate doing all of that stuff, I always feel a lot better about getting back to painting after all of the chores are done.  I'll be honest, I haven't done much painting lately.  Between school, my portrait project, holiday festivities, and a couple rare commissions, I've had very little time to paint for paintings sake.  I'm okay with being "unproductive" though, as I know my next wave of productivity is going to come on fast and stick around for quite a while.  I've got a dozen different themes to pursue via paintbrush and I can't wait to get started.  

So, I've considered myself on a bit of a hiatus, regardless of how much painting I've actually been doing.  While I haven't been cranking out as much work as I'd typically prefer, it's not as though I've forgotten about my "artwork".  The past few months of reading, writing, playing music, teaching, and pursuing other interests have been pretty influential on how I plan to continue painting pictures.  I'm excited to let some new ideas and practices develop in the coming weeks as I really throw myself back into painting.

I'm also interested in making some changes to what I do after my pictures are finished.  I wrote quite a bit about it and then deleted it, but I'm pretty frustrated with my current gallery representation, the types of exhibitions I feel obligated to enter, and the lack of alternatives for a person that paints pictures of things in Indiana.  I mean, the lack of options for a person that wants to make a living painting pictures of things in Indiana.  I don't have a solution, but that's for a different post anyway. 

The painting above is a new-ish favorite of mine.  I've got a series of nocturnes in the works...can't wait to paint some more glowing streetlamps and shadows.  



Monday, December 26, 2016

'Tis the Season


"Sleeping In"
oil on canvas
30" x 30"

So what did you get for Christmas?  

I'll be honest, I have mixed emotions about this time of year.  Don't get me wrong, I love having "Winter Break" at school, I love making an event out of every meal for an entire week, I love taking advantage of guilt-free lazy afternoons,  and I love spending time with friends and family during one of the major, designated family and friends times of the year.  It's the "season of giving" thing that bugs me.  

I'm not talking about presents here.  I'm talking about the warm and fuzzy feelings that suddenly appear during the last 30 days of the year.  You know, when everybody's crediting the "Christmas spirit" for acts of kindness and charity intended for those people they feel less fortunate than themselves.  Why does everyone find an abundance of love all of a sudden?  Is it the product of family reunions, festive traditions, and religious beliefs?  Or is it convenient to cram all good deeds into the time of year that will leave you feeling best about yourself but not truly invested in anything or anyone else?  I'm sure this is coming off all wrong, and I'd never want to deter anyone from their annual December do-gooding, but I don't like the idea of helping, giving and "loving" for the sake of feeling good about oneself.  

I know that giving for the right reasons versus giving for the wrong reasons really doesn't matter to those on the receiving end...it all spends the same, right?  I guess I just feel like it's dishonest and a little sleezy to overtly play the part of a self-effacing humanitarian once a year in hopes you'll be painted in a more positive light through your lifetime.  Or maybe there's less difference between people who give and those who are givers?  I'm no moral authority, I'm just trying to be honest.  

Please give your gifts, work the soup kitchens, and donate to your favorite causes.  But when you think of giving, remember that charity isn't seasonal and it's not about you, it's about all of us.

Sunday, December 25, 2016

Just Between You and Me

Bargain paintings?  A big holiday sale?  

I have no idea what you're talking about.  

I might not have anymore "hot deals" to offer, but I can assure you that I'll have plenty more to post about.  I hope you'll stick around, but if you don't, you can take comfort in knowing I'll be posting anyway.  If you fancy reading a lot about nothing important and looking at the occasional painted picture, this is the waste of time you've been looking for.

One does not expect in this world; one hopes and pays car-fares.
-Josephine Preston Peabody

Saturday, November 26, 2016

They say everything can be replaced
They say every distance is not near
So I remember every face
Of every man who put me here

I see my light come shinin'
From the west down to the east
Any day now, any day now
I shall be released

They say every man needs protection
They say that every man must fall
Yet I swear I see my reflection
Somewhere so high above this wall

I see my light come shinin'
From the west down to the east
Any day now, any day now
I shall be released

Now yonder stands a man in this lonely crowd
A man who swears he's not to blame
And all day long I hear him shouting so loud
Just crying out that he was framed

I see my light come shinin'
From the west down to the east
Any day now, any day now
I shall be released

-The Band

Saturday, November 12, 2016

What Do You Mean by "Plain Hair Painting"?

Oops...I found out that plein air painting isn't what I'd been led to believe it was.  The act of painting outdoors, on location, with a focus on "capturing a moment" by recording the light and color or a particular place and time is still a sufficient definition.  But evidently, there are a few rules I've overlooked.  I'd like to thank a popular plein air painting publication, available by subscription, for setting me straight.  This is by no means a cut and dry type of list, as I may have only included the rules that have been most discouraging for me to learn...and...I might like trying to be satirical.

You MIGHT NOT be painting "en plein air" if...
1.  Your finished painting doesn't look like it was created 200 years ago, or it's aesthetic is too different from acclaimed dead painters who often painted the technological and industrial achievements of their time "en plein air" because of a true interest in the world around them and a dedication to be truthful representation of it.
2.  You include a Dollar Store sign in an otherwise nostalgic street scene.
3.  You consciously try to avoid a "painting location" during a plein air painting event because a dozen people are there, painting pictures of the exact same thing they've painted there the past 10 years.
4.  You call your plein air paintings "paintings" rather than "studies" or "pieces"
5.  You don't consider plein air painting and studio painting to be two entirely different processes that results in two different calibers of work.
6.  You don't participate in all of your local "plein air community" events.
7.  You only participate in a few "plein air communtiy" events for the sole purpose of selling your paintings, because you can go out and paint "en plein air" at literally any other time.
8.  You follow all of these rules of plein air painting, but while painting a subject that makes people feel uncomfortable or any emotion other than nostalgia or benevolence.
9.  You believe plein air painting is a practice, not a style.
10.  You try to paint anything as if it's anything else, even if the subject is ugly or provocative, and regardless of what viewers might misinterpret, such as a personal statement or lack thereof.
11.  You believe that beauty can be found in something not inherently beautiful.  Or, that beauty isn't a requirement for making "art".  Or, that the act of making a painting isn't synonymous with making "art".
12.  You don't believe everything you read in Plein Air Magazine, don't attend their annual conference, or don't participate in their monthly contest that doesn't really have anything to do with plein air painting (I've received 3 awards, coincidentally).
13.  You try to be as honest as possible all of the time, even if people mistake your honesty for defiance or rebelliousness.
14.  You took offense to this.

Tuesday, November 8, 2016

Mice and Men


"Trapped"
oil on canvas
16" x 20"

Don't worry, I'll get right back on track with the $250 paintings...

But...

I just wanted to take a moment to recognize just how ridiculous everything is in the United States of America is at this very moment...as states are turning red and blue.  Like pretty much everyone else, republicans and democrats and all in between, I'm thoroughly upset about the presidential election.  I don't need to elaborate.  However, I'm even more upset about the ugliness the election has uncovered.  There are a lot of people out there who are incredibly uneducated, misinformed, and eager to defend a point of view that was adopted from some sort of social convention rather than earned through observation and introspection...to the point of blatant bigotry and hatred.  I can live with a president I don't care for, but to know there are so many people out there that will fight for views so contradictory to what we have been taught our country is supposed to stand for, and in the name of devout patriotism and God...that's hard for me to stomach.  People can be obtuse.  It's hard to reason with prejudice.  I'm afraid the sense of pride I want to feel for my country will be illusive, as long as so many of my countryman find pride in views so anchored in hate.  Are you more of a patriot for staunchly defending your own patriotism?

Evidently, the picture above has really upset some people.  It's funny how a painting of a dead mouse can cause such a fuss at a time like this.  I'm either underestimating the amount of people with voluntary rodent problems or I've failed to recognize how violent painting pictures can be.  Either way, I'm afraid the trap is set. 

Monday, October 31, 2016

All Bets Are Off


"Glow"
oil on canvas
11" x 14"

It's Halloween.  

I have never really done much for Halloween, but I enjoy it.  Mostly, because people get to dress in costumes and act like something else entirely for a day.  Everyone acts out of character on purpose and really enjoys "being" someone they aren't...or at least, someone they think others believe they are not.  I wonder about "acting a part" all of the time.  What if, tomorrow, I decided to stop being a painter altogether.  Maybe I could be a doctor, or a pilot, or a referee, or a hobo.  I really think I could be equally satisfied doing any number of things besides painting pictures.  But I'm so invested in this costume...

That was a little much.  More than anything, I guess I just like the candy. 


Monday, October 24, 2016

Portraits


"Rachel"
oil on canvas
24" x 30"

My "100 faces" portrait project is starting back up.  After hitting the half way point, I took a bit of a break over the summer.  I had planned on starting back in August, and now, in late October, I'm finally ready to knock out the last 50.  I'll probably blab more about this project in the weeks to come, but for now, I just want a few more volunteers.  I won't twist your arm...I only want true volunteers.  If one of the three of you that read this on a regular basis decide you'd like to participate, get in touch and we'll schedule a session.  

Sunday, October 23, 2016

Selling Out / Buying In


"Hasler's"
oil on canvas
24" x 36"

I found out this painting won an Honorable Mention Award at the Cincinnati Art Club's Annual Viewpoint Exhibit.  I won some money to Dick Blick Art Supplies.  That's great news, as I use Dick Blick student-grade paint almost exclusively.  Hopefully, I'll eventually get that Blick endorsement deal I've been hoping for.  I've already bought a bunch of racing jerseys for my sponsorship logo's.  Blick will get major real estate on the back, of course, but I'm also saving room for Skittles, Banana Boat, Stroh's, Duck Tape, and Fritos.  Some call it selling out, but I just call it being art-smart.  Want a piece of artistic glory?  Buy yourself some advertising space on my back.  Heck, with a little bit of monetary teamwork, we could get LeGrand's in the Target, maybe even Pier 1...anything is possible.

Saturday, October 22, 2016

Dead Bird


"Robin"
oil on canvas
12" x 16"

I've been painting lots of dead things lately.  Have a great weekend!

Thursday, October 20, 2016

Brookville


"Truck"
oil on canvas
12" x 16"
*painted outside of Brookville, Indiana with the legendary Larry Rudolech

It's been a few days.  I meant to post earlier, but it was a busy week...between the end of a grading period at school, band rehearsals, and a lack of sleep, I've had a hard time catching up with internet stuff. 

I have been attending Indiana Plein Air Painters' annual "paint out" in Brookville, Indiana for 5 or 6 years now.  At my first outing, I hadn't really figured out how to approach plein air painting yet.  I know I've just scratched the surface at this point, but my paintings are a hell of a lot better.  It seems like it was forever ago, but when I really think about it, I've covered a lot of ground over the past few years.  Every October I look forward to standing in the Whitewater River, drinking beer for breakfast, painting in the streets through the night, warming up at the McDonald's, eating fried chicken, getting heckled by the locals, and hanging out with fellow painters.  This year, I had a blast with my good friend, Larry Rudolech...but that's a different story I'll tell another time.  Brookville has become a big part of my yearly routine.  I hope I never miss it.  

A few years ago, I attended the same event in Brookville in hopes to sell a painting or two.  I had good luck the year before and had high expectations for a profitable weekend.  In fact, I was depending on it.  At the time, I was living week-to-week, trying to learn how to paint while simultaneously trying to convince people I was a "professional artist".  It was silly to be so concerned about "establishing myself", but at that time, I was totally invested in painting and being recognized as a painter.  Possibly, more invested in convincing myself I was doing something important...or should I say, fooling myself.  Whatever the case, I had very little money and had decided that a good weekend at Brookville was my best bet at paying my overdue bills and rent.  To make a long story short, I painted non-stop for three days, slept in my car, and failed to sell a single one of the 24 pictures I made.  On the disappointing drive home, just a few miles from the interstate, my car started shaking violently.  I slowed to a crawl, but because of the winding road and long line of cars riding my rear bumper, I was unable to pull over.  At the very moment I spotted a county road adequate for a pit stop, I heard a loud noise and my car jolted forward.  I looked to the left and was shocked to see my front, driver-side wheel rolling at the same speed an arm's length away from my vehicle.  I was probably 150 yards away from the county road pull-off, driving uphill on three wheels, sparks shooting 10 foot into the air as my brake rotor dug a 3 inch rut through the asphalt.  I put my foot down, knowing that if and when my car stopped, it would stay stopped.  It happened in a flash, but I distinctly remember thinking how ridiculous the whole scene was as I roared down the road, visualizing the events, as they were occurring, as some silly television show...not unlike the Newman in a flaming mail truck, delivering recycled soda bottles for profit, Seinfeld scene.  As I slammed my car into park on the wrong side of a county road, more than 100 miles from home, I became incredibly scared.  The near catastrophic car accident was intense, but while inspecting the empty hole where a wheel once was, I realized I had an equally empty and much more terrifying hole in my wallet.  Aside from the loose change in my cup holder, I had only 4 dollars in my pocket.  That 4 dollars was literally all of my money.  Actually, with the massive amount of student loan debt I had accrued, my outstanding bills, and my recently maxed out credit card, I guess you could say that those 4 one dollar bills weren't mine either. 

Prior to that moment, I hadn't realized how desperate I was.  In hindsight, it was incredibly irresponsible and foolish for me to travel that distance in such a poor vehicle, with such poor artistic skills, at such a poor opportunity for financial gain with such a poor choice of a career...while being what some people would call "poor".  I don't want to give the wrong idea, as I've never felt as if I was struggling.  Even though this story hints at that, I've never been without options and opportunities.  I could've always asked my parents for a loan, but at this point, I had decided that option was off the table.  I could've fallen back on a job doing something more practical than painting pictures, but that hadn't even crossed my mind.   I'm incredibly stubborn and I often suffer because of it.  And like many others, I found disappoint as an "artist" very quickly in the venture.   I took a lot of silly risks and made many poor decisions that just so happened to work to my favor in the long run.  I've heard people talk about taking a chance on your own confidence, and that might've been the case for me, but when you find that you love something as much as I found that I loved painting, nothing seems like a chance.  I'm so grateful for my naivety and the good fortune I've found from "living in the moment".  I could make a whole bunch of "if I knew what I know now" type statements, but the truth is, if I would've known better a few years ago, I'd never be in such a favorable situation today.  When I look back over the past few years, I'm happy to say that I've achieved much of what I once aspired to, but as everyone knows, being somewhere often pales in comparison to getting there.  

I could finish the lost wheel story, but it doesn't matter.  I made it home, I spent my last 4 dollars, and I eventually got my car fixed.  Funny enough, I sold a couple paintings a few days later, temporarily fixing everything.  I hit a few more rough patches.  I'm guessing I'll have many more.  Rough patches have a way of smoothing themselves out if you let them.  When they do, they end up seeming much less rough or much more rough in hindsight...according to the type of story you want to tell and the type of person you want people to think you are.  Today, I'm telling the happy ending story of perseverance and passion from the point of view of a mildly successful "professional" artist of very few years.  But...it doesn't really matter, because I paint pictures and nobody really needs a picture for anything.  In fact, I might stop painting altogether.  I've always wanted to drive a truck...

Thursday, October 13, 2016

Feature


"Brittany and Purple"
oil on canvas
24" x 48"

So, I'm a "featured artist" at the Brown County Art Guild in Nashville, Indiana.  I've got about twenty paintings on display about love, life, and death.  Actually, they are paintings of my wife, our pets, my grandparents, and a few dead mice.  If you're wandering beautiful Brown County this month, grab a bag of kettle corn and stop in...to Big Woods Brewery.  They've got a great pumpkin porter.  

Wednesday, October 12, 2016

Wyatt LeGrand AIS OPA NOAPS ASS


"On the Hill"
oil on canvas
30" x 30"

I apply to all sorts of juried exhibitions.  I kind of hate it, but at this point, I feel like I still need to do it.  Disappointment is a big part of these endeavors.  Getting juried into a show involves paperwork, due dates, and hefty fees.  If you're lucky, you might get in.  If you're in, you get to pay way too much to ship your work with additional "unpacking and handling fees" to a gallery too far away to visit.  If the painting arrives intact, the frame is probably busted.   If it isn't, it will be by the time it's shipped back to you in somebody else's box (that they want back) with virtually no packing material but plenty of dust and dirt.  Sometimes your painting gets lost or the gallery waits to ship it back until you've called eight times to inquire about its return, three months later.  Don't count on awards at the exhibit.  The better you think your painting is, the less likely you'll be recognized.  But if you've managed to get this far, you've figured out a long time ago that your best work won't get in, so you send your least favorite paintings in hopes they'll please these non-artist judges.  Don't count on that award covering your expenses either.  In fact, go ahead and assume that the prize is actually a "purchase award" for approximately half the value of your work.  Don't be surprised if they send your check to the wrong address, two months later, with your name misspelled.  Don't be surprised if they resell your painting at an auction house for double the amount you asked for, four times the amount that you were actually paid.  Don't be surprised if the show you entered in hopes it would lead to a sale, new gallery representation, or some type of accolade actually just leaves you several hundred dollars in the hole, in no way "more established" as a professional artist, and overall, more discouraged than ever that the most prestigious and honorable venues for your work don't actually do anything to support you as an artist.  For that matter, anything to support art in general, and rather, the bottom line of a gallery and the egos of a few "modern masters".  

There's nothing new about this, I'm sure.  And please don't misunderstand, I'm not angry about it...in fact, I'm getting quite a chuckle out of writing this.  It is what it is.  Every once in a while, I get lucky and sell a painting.  Every once in a while, I win an award.  Every once in a while, these silly art competitions help me pay my bills.  So long as I'm making more than I'm losing, I don't have a problem with swallowing my pride and playing the game.  I'm eventually going to get so fed up that I just say the hell with it.  In the meantime, I'll continue to be a hypocrite and bite the hand that feeds me.   It's all in fun, but I mean it.  It's fun to poke fun and shrug off the importance of things that I should probably take more seriously.  It's fun to pretend I'm witty.  It's fun to make fun of myself by critiquing things I'm involved with that don't actually matter.  But seriously, I'm really serious about all of this.  Just kidding...seriously.  

Pretend I didn't just say all of that.  

I'm honored to take part in the 17th Annual American Impressionist Society's Annual Exhibition at the Howard/Mandville Gallery in Kirkland, Washington.  My painting "On the Hill" will be on display through the end of the month with a whole bunch of better paintings by artists of high distinction...some who are even allowed to write acronyms behind their signatures on all of their paintings so that we can recognize that the artist is better than most others.  I guess you could say I'm an aspiring AIS, OPA, NOAPS master signature member.  I can't wait until those dreams are realized, but I'd like to share some big abbreviation news of my own...I've just been recognized as a member of the American Satirist Society.  It's not a requirement, but I'm really looking forward to signing my acronym behind my name.  

Tuesday, October 11, 2016

Just Another Band from L.A.







"The most important thing in art is the frame. For painting: literally; for other arts: figuratively - because, without this humble appliance, you can't know where The Art stops and The Real World begins. You have to put a "box" around it because otherwise, what is that shit on the wall?" — Frank Zappa

I think that I think more of my paintings than I should.  Not all of them and not all of the time, of course, but every so often, I really enjoy something about something I did.  Actually, much of the time it’s on accident.  A certain theme or statement might emerge from a painting after the fact, making itself apparent while completed and leaning against the wall, rather than from some stroke of genius while staring at blank canvas.  I know they’re just paintings, but I love when they begin to represent more than I had planned.  I love when a larger idea is realized with a simple image, especially when it’s something new for me to think about, stumbled upon accidently.  Most of the time though, the excitement I find when convincing myself  I’m doing something “artful” is immediately subdued by my acknowledgement that it was inadvertent.  It’s like blindly throwing a bunch of spices in a pot and accidentally creating the best soup you’ve ever tasted, just to disappoint yourself when you realize you’ll never know your own recipe. 

Anyhow, regardless of how a painting becomes special to me, it’s always a struggle to share that “specialness” with others.  The fact of the matter is, no matter how important a subject is to me, I have to assume that no one else will see anything other than colored marks on a canvas.  That’s not to say that I’m creating “art” beyond anyone’s intellect…it’s most definitely the opposite, but why should someone have to invest any energy at all when looking at a painting.  If it’s a non-artist, it’s “Does it look real or not?”  For another painter, it’s “Does it look harmonious?  Is it a good composition?  Does it look like another artist I respect?”  For a few, it might be a question of “Is it weird enough?  Is it expressive enough?  Is it ‘modern’ enough?”  Whatever the case, it’s a decision that can be made at a glance, with a lot of subjectivity, and usually, at the artist’s expense.  My paintings look like a lot of other paintings, so any argument of the contrary would be fruitless.  And I assume the artists of those other paintings have the same struggle.  We’re all screaming about something with our work, and right in the ear of all who can hear…we just can’t force a person to listen. 

It must be a constant struggle of finding your voice, whether with purpose or accidentally, stumbling upon someone willing to hear you out, and then choosing to hold your tongue.  I could explain what a painting means, but I don’t think anyone is really listening, and if they are, they’ve already made up their mind one way or another.  Maybe, as much as I find I’ve said in a painting, even if I’m saying it to myself, the real art is in hearing what a few exceptional viewers believe I’m saying to them.  Or, something like that.


I’ve really fallen in love with Frank Zappa as of late.  His dedication to his music, audacity in the face of hypocrisy and narrow-mindedness, and brutal honesty with everything and everyone has stirred up all sorts of admiration from me.  This post’s opening quote got me thinking…if everything on the wall is already framed, how do you ensure that your contribution still stands out amongst all of the shit?  Does acknowledging that a thing was created according to an individual’s own definition of art actually make it artful for all those who see it?  Is art just a product of a person calling his or herself an artist?  How many answers can you come up with?  If there’s anything I’m relatively sure of, it’s that none of it matters anyway. 

Monday, October 10, 2016

Up for Debate


"Contest"
oil on canvas
12" x 16"

Yeah Yeah...

Yeah yeah…I haven’t posted in a long time.  Nobody’s been begging for more blog posts, so I’m not very sorry about slacking off.  Truth is, I’ve been a little overwhelmed with, well, everything.  School started since my last post, which has a way of making time a little harder to come by.  I’m pretty good about keeping my school work at school, but that doesn’t mean I come home every afternoon ready to crank out a dozen paintings.  When I do come home in that mood, it obviously leaves less time for me to blab about myself online, which is a good thing.  A lot of stuff has happened in the past couple months, so I’ll be trying to catch up with my posts on a more regular basis.  The good news for me…if you’re reading this, I assume you like hearing about my latest work and are willing to indulge my thoughts and ramblings on the day-to-day.  The good news for you…this will soon be the only place online where I “post” anything…so, you can say you were the first to truly “follow” me.  To top it off, you’ll be able to do so without viewing my latest work sandwiched between bad political memes and sunglasses advertisements.  The bad news...well, it might be the same as the good news for some of you.  For whatever reason you’re here, thank you.  

Monday, August 1, 2016

Thanks To My Model


"Phenomenon"
oil on canvas
24" x 24"

I just got back from a vacation.  I consider it "vacation" because I didn't take any paints, but I certainly found some new subjects for future painting trips.  I could go on and on, but to sum it up, we rented a convertible and drove through a good chunk of California...Lake Tahoe, Yosemite, Central Valley, Monterrey, San Francisco, and everything in between.  It was a phenomenal trip.  

I was happy to discover I had some good luck while I was gone.  Both of my paintings were accepted in the 92nd Annual Hoosier Salon Exhibition won awards.  The painting of my wife, pictured above, won "Best Figure".  She's a babe.  She also puts up with me, which is a tall order.  I'm a lucky guy.  


Thursday, July 21, 2016

Lilies


"Lilies"
oil on canvas
30" x 40"

I'm running short on time today, so I'll just leave you with this...

I started on a painting of those plastic trash containers I love so much, found myself admiring my neighbors flowers, decided to do this large floral thing instead.  I don't paint pretty stuff too often, so this is a rarity.  It was fun, so I might do a few more...or not.  Have a good one folks!

Wednesday, July 20, 2016

Love at the Lake



To break up some lengthy posts that don't have much to do about painting, I figured I'd blab for a bit about last weekend's painting excursion at Lake Wawasee, Indiana.  My wife and I had been planning on spending a weekend at the lake for a while now, as we have some friends with a great little cottage on the water.  We ended up planning it out so that we'd be there during the Indiana Plein Air Painters "paint out".  I painted 16 paintings over the course of a couple days and only ended up coming home with 4.  On top of that, a couple families have invited me back to complete some commissions that I'm pretty excited about.  It was a very profitable weekend, but the best part was being with my wife and some great friends.  Typically, when I go out for a weekend of painting, even at the busy plein air events, I spend quite a bit of the time by myself...which I actually enjoy quite a bit.  But, having my wife along with me while painting is a real treat.  She understands that I can't help but paint for most of the day, but she also encourages me to take breaks and relax.  We spent a lot of time swimming, taking boat rides, and just enjoying the company.  Weekends like that serve as a great reminder that my "work" affords me the opportunity to travel, but my travels should be treated as much like vacation as possible.  Thanks to IPAPA, George and Peggy, Bill and Lisa, Courtney and Abby and Barrett...but most of all, my sweet wife, Brittany.

"Phil & Kelly's Place"
oil on canvas
18" x 24"

"Phil & Kelly's Place" is probably my favorite from the weekend.  I was pretty happy with all of my paintings, but this one just happened so easily.  I love it when you can sort of go "autopilot" on a painting, just slather on the paint and watch it come together.  Don't get me wrong, I typically find plenty to struggle on, and I'm usually stubborn enough to work through it and produce things I'm happy with.  But nothing beats the satisfaction of producing a decent painting that more or less painted itself.  

I'm off to buy some kayaks...

Tuesday, July 19, 2016

The Adventure, Part 3, The Desert


When I left Grand Canyon, I prepared myself for a few days in the desert.  I had already traveled through north central New Mexico and Arizona, but I knew the desert landscape was soon to become even more desolate and harsh.  I found a nice little town to stop for lunch.  They had a Wal-Mart, so I decided to get an oil change.  My trusty Subaru started burning oil several road trips ago.  I love my Forester, but the recent discovery that oil consumption in vehicles like mine is a common, potentially disastrous, and practically unfixable, left me a bit paranoid about the reliability of my most important asset on the trip…my transportation.  My owner’s manual suggests oil changes every 5,000 - 7,500 miles, unless you’ve been driving in “extreme conditions”.  At the 100,000 mile mark, I can tell you, driving at 70+ mph for 10+  hours a day is what they meant by “extreme”.  I estimated I was burning a quart of oil every 1,000 miles or so, which wasn’t the most comforting thing to have in the back of my mind.  I purchased 5 quarts in addition to the fresh 5 they put in, bought some beef jerky, and got back on the road.  While waiting on “Tire & Lube Express”, I organized my CD’s for the upcoming few days.  I still listen to CD’s.  I love my music and I’m a big fan of “the album”.  What I mean is, I love songs that are arranged in a purposeful order by the artist, to be listened to from beginning to end.  I know you can do this with an MP3 player, but the physical act of choosing the album and placing the CD into the player is one of those romantic things that I love…super romantic on a trip through the desert.  Fortunately for me, a lot of the music I listen to isn’t geared towards the pop single and often from a time when entire albums were played on vinyl, with sides and stuff…which I think is more attuned to a beginning-to-end listening experience.  Anyhow, I enjoyed organizing a “playlist” that included Jackson Browne (ultimate road music, especially after a stop in Winslow, AZ a couple days prior), Drive-by-Truckers (I was inspired by the last song on English Oceans, Grand Canyon), Bob Dylan, Roy Orbison, Tom Petty, Wilco, T Rex, Nick Drake, Otis Redding, Little Feat, The National, Pavement, Howlin Wolf, Neil Young, Screaming Females, Whiskeytown, Jason Isbell, Sam Cooke, The Black Crowes, Lightnin Hopkins, Waylon Jennings, Bad Religion, The Replacements, John Lee Hooker, Sturgill Simpson, Grateful Dead, My Morning Jacket, Cat Power, Sylvan Esso, and probably a few others I can’t think of at the moment.  Funny enough, for the amount of music I designated as “desert mix”, I ended up having to break into another CD binder thingy before moving to less arid landscapes.  I love having new experiences while with good music blasting through the stereo…I think it helps me remember those experiences like scenes in a movie or something. 

I was on my way to Las Vegas.  I hadn’t really intended to stop there, but my schedule made sense of it.  I wanted to end up in Death Valley the next morning, and Las Vegas was the most logical stopping point.  So, with Vegas as my evening destination, and a lot of brutal heat left in the day, I decided to take another break at the Hoover Dam.  It was over 100 degrees by this point.  The combination of the canyon and enormous amount of concrete held the heat like an oven…it was quite unpleasant.  I awed at the scale it all.  I took a tour and a selfie, then got back on the road.  Seeing that much man-made wonder is a weird thing.  On the short trip from the dam to “the strip”, I thought a lot about the lifetimes spent building…roads, cities, monuments, and the like.  There is a certain type of irony at play while standing on an enormous, man-made river obstruction, listening to a tour guide describe the millions-of-years-process nature used to carve the canyon dwarfing everything within it.  As I pulled into a parking garage behind a huge man-made replica of a huge man-made French monument, I started to feel like a real sleaze ball.  I was in Paris.  The Paris Resort that is.  I was in Las Vegas…the capital of sleaze.

I planned on splurging a bit in Vegas so that I could have the total “Las Vegas strip experience”.  Turns out, I didn’t have to splurge at all…hotel rooms are dirt cheap.  I ended up with some snazzy suite with a view of the Bellagio for $80.  Okay…not dirt cheap, but significantly less than I figured I’d have to spend.  I guess I owe all of you slot machine feeders, buffet eaters, and desert oasis entertainment connoisseurs a thank you.  I walked around for a couple hours seeing the sights.  One of the major thrills was seeing at least a thousand “adult calling cards” stuck in the vertical metal teeth of an escalator.  It was a beautiful sight at a distance…little moving bits of neon and flesh moving towards the sky.  No doubt, there was a lot to look at.  After some exploring, I had the great pleasure of meeting two former students for dinner.  Social media and text messaging brought us together over a thousand miles away from our hometown.  We had a nice meal and laughed a lot.  I was pretty excited to see people I knew after several days on my own.  Moreover, I was ecstatic that my students would want to “hang out” with me while on vacation, as they actually drove quite a distance to meet up with me.  It’s pretty cool that they’re getting to see the country at such a young age.  Both students are super smart, mature, and motivated…they’re going to do great things.  I worried about them making it back to their lodgings for the evening while roaming the streets, watching the performers, paying too much for drinks, and pretending I was George Clooney or any of those other cool guys from Ocean’s Eleven while standing in front of the Bellagio’s fountain show.  I got to bed relatively early in preparation for the next morning.  I checked out and hit the road as many were getting back to their rooms after a long night of whatever you do all night in Vegas.  What a funky place…I think I’ll go back to watch the magicians.  

I started driving northwest so that I could make a turn to the southwest.  It wasn’t long until I was in California.  I planned on driving through Death Valley as the sun came up.  The further I drove toward my goal destination of Badwater Basin, the more alien the landscape began to look.  The mountains began to glow orange and the temperature began to rise quickly, even though the sun hadn’t actually broke into my view yet.  I passed several “wild horses” and wondered why they chose to be wild in one of the most brutal places on Earth.  I came to the conclusion that being free involves some type of sacrifice, in this case, learning to survive a place where they probably shouldn’t.  I eventually got to the lowest point in North America.  Of course, there was a roadside pull-off to appreciate the landmark.  I got out of the car and walked through the salt, beyond the shadow cast by the ridge behind me, and continued until I was just shy of a mile away from any type of shelter from the elements.  I sat down in the salt and listened to the least amount of noise I’ve ever heard.  I’m guessing the absolute isolation and extra atmosphere gained below sea level contributed to the lack of sound.  Whatever the reason, it was an experience I won’t forget.  I had a lot of “spiritual experiences”, for lack of a better term, on this trip and Death Valley definitely took me to a different place.  I think there’s a certain amount of “prove it to myself” mentality when taking a trip like this, and the slight dangers associated with traveling alone in relatively untraveled areas become addictive.  For about an hour, while sitting in “hell on Earth”, I really started to feel a weird sense of accomplishment.  I sweat through all of my clothes and walked back to the car.  I was on my way out of Badwater Basin by 8:30 am, but it was already over 100 degrees.  I pushed on through the Mojave Desert.  I saw towering dunes, lake-like mirages, and even lost the road a couple times in an apparent windy area.  The temps continued to climb and I became increasingly uncomfortable in the car.  I really think I began to love the desert for the same reasons I hated it.  It was too hot to inhabit, void of most living things, and continuously threatening.  I found a great thrill in driving through a place I knew I couldn’t survive, should some catastrophe occur.  After sweating through another shirt (I rarely turned on my AC during the trip…I’m a windows down type of guy), I made it to Baker, where I was greeted by the world’s largest thermometer.  It read 112 degrees.  I stopped for gas, hopped on highway 15, and imagined I was driving a 1971 Impala convertible with bats chasing me (some of you might get that reference).  I was on my way to Bakersfield, where I’d then turn north towards the High Sierra’s.  

Thursday, July 14, 2016

Plein Air Preparedness


I'll get back to posting about my road trip next week.  Today, I thought I'd share something painting nerds might enjoy as I prepare for a plein air excursion this weekend.  For those of you that are plein air painters, especially those of you who are too industrious for your own good, you might share some of my struggles...too many paintings, too little room, and a constant, nerve-racking game of Tetris while loading/unloading the vehicle.  With all of the plein air events I attend, and the weekly deliveries I make to galleries and shows, my mid-size SUV just wasn't cutting it.  Last fall, I added to the LeGrand fleet and purchased a Fort Transit Connect...basically a miniature sprinter van with two seats, air conditioning, and not much more.  The "cargo area" is large, unobstructed by bulky wheel wells or moldings, and accessible by double doors in the rear or sliding doors on either side.  The only thing it was missing was a storage system that allowed me to to take advantage of the height of the vehicle.  So, last week, I bought some plywood and built the rack pictured above.  After some light math, heavy use of the table saw and nail gun, and a few visits back to the drawing board, I built a relatively light weight (it's actually darn heavy, but as light as my engineering skills allowed), removable storage unit for frames and wet paintings.  It's not pretty, but it accommodates my typical frames up to 24" x 36", keeps paintings from banging in to one another, and most importantly, allows me to find a canvas, paint a picture, frame that picture, and store the whole kit and caboodle with ease.  No more moving 10 wet paintings to get to a canvas and frame that I have to return to the bottom of the stack upon finishing.  And...if I plan ahead a little, I can store and transport three times as many paintings and frames as previously possible.  I played around a little and discovered I can comfortably accommodate 60 frames and panels, sizes 5" x 7" - 24" x 24", with no fear of smudging any wet paint.  As you can probably tell, I'm pretty excited.  So if you have a Transit Connect, and need more storage for your paintings, I....won't make you one...sorry.  But, I'd be happy to give you my plans.  Now, to put this thing to use!

Tuesday, July 12, 2016

The Adventure, Part 2, Grand Canyon


"Duck Rock"
oil on canvas
14" x 18"


I had planned on camping at the Grand Canyon.  I knew the chances of finding a primitive site in the park were slim, but I wasn’t expecting for every campground in a 50 mile radius to be full.  I found a motel.  I became a real connoisseur of cheap motels during the trip.  I opted for camping when possible, but finding campsites in the late afternoon in scenic places can be a challenge.  I slept in my car a lot, but always kept my eye open for a Motel 6 or an America’s Best Value Inn…some of the finer cheap lodgings I can suggest.  Anyway, I made sure to be up and on my way to the park at 4:30 am to catch the sunrise.  I was not disappointed.  I spent a couple hours marveling, hiked around the rim for a particular vantage point, did two paintings of the canyon, wiped those two paintings off, drove along the rim to a few more vistas, and then recharged with a healthy portion of peanut butter crackers and trail mix.  I gave painting another shot, but was surprised at the difficulty of painting something so vast, and by that time of day, super subtle. 

I ended up with several paintings of Grand Canyon, but I’m mostly glad I had the experience.  Painting on the edge of one of the most impressive geological areas in the world is a reward in of itself.  But if there’s anything I’ve learned about painting western scenes, which I’ve grown to love so much, it’s that photographs are not good references on their own.  To those of you plein air painters out there, this is true in most cases.  But for me, the color, atmosphere (or lack of), distance, and subtlety of the western landscape demands quite a bit more study.  I’ve never really considered plein air paintings to be solely “studies for studio work”, as many painters do…but I’ve always used what I learned from the experience of painting on location to help me paint from photos, sketches, and my imagination while working in the studio.  More than ever, on this month long excursion, I viewed most paintings as exercises in understanding the colors and light of the variety of locations I painted at.  In total, I probably cranked out 50-60 paintings, the majority of which I’m considering “studies”.  This is a new approach for me, but I’m already feeling very confident in what I learned.  I guess what I’m trying to say is…I made some really good ugly paintings and I’m looking forward to using them as references for upcoming studio work.  I found myself very frustrated at times, but looking at the paintings at home, I’ve found a lot of things to love about them.  I’ve got a lot of ideas in store…I can’t wait to start pumping out some monster landscapes.  You know, I rarely paint pure landscapes here in Indiana….I think it’s something about the hugeness of the West really excites me.  That and the “wanna-be mountain man seeking adventure within his Midwestern means” sort of thing.

I spent the rest of my time at the Grand Canyon hiking.  I walked about 10 miles total…two scenic rim trails that offered anything you could ask for from a dirt path.  I finished the day riding the shuttles up to some of the scenic overlooks, taking photographs, and watching the sun set with my feet dangling over a 1,000 ft. drop.  It was amazing.  Oh, and I almost hit an elk…scared me to death.

The next morning, I got up at the same time and went back into the park to watch another sunrise.  I brought a guitar with me (I play guitar) to play should the mood strike.  It struck, so I played for a while before loading up and hitting the road again.  I’ll be going back to Grand Canyon soon I’m sure.  I really want to do one of the day hikes down to the river.  In fact, I’ve heard several people talk about the rafting trips through the canyon…and I’ve already started researching.  I’ve got a lot on my to-do list.


And then came the desert… 

Monday, July 11, 2016

The Adventure, Part 1, The First Long Haul

For my own reasons, I've decided to write more about my experiences.  I've been enjoying it greatly, and as a few peers have persistently told me, others might enjoy it as well.  I'll give it a shot, but don't get your hopes up.  For the first rambling, as promised, I'll focus on my westward adventure.

6/29/2016

I am home.  In the past month or so, I went on a bit of a road trip.  I had been planning the trip for a while, however, I made it a point to not make any concrete plans.  The general idea was to drive to the west coast and paint my way back home.  I’m happy to say I survived and didn’t get myself into too much trouble.  I could go on and on about the trip, or as I like to call it, my adventure…but I’ve decided to keep most of it to myself.  For those of you who are interested, I’ll give a somewhat lengthy, mildly entertaining overview. 

I drove 10,282 miles in 25 days…this means I have a raw elbow from my console, new calluses from holding the steering wheel, a sore heel, and a case of sciatica that will probably linger for several more days.  My car is worse for wear, as I had expected…many quarts of oil were added, a new battery was purchased, and several roadside stops were made to ensure I could keep driving on.  It’s safe to say that I spent more time in the driver’s seat than anywhere else.  I drove for 15+ hours on several occasions, slept in the driver’s seat at picnic areas and parking lots, and ate many meals while cruising down the highway.  Funny enough, as much as I tired of driving, I ended up finding a lot of comfort being in my car.  It sounds ridiculous, I know, but I’m pretty confident I could live in my car.  If it wasn’t for a deep connection to my community and a great love for my wife and students, I’d probably give the whole “modern nomad” thing a shot…at least for a little while. 

I ate a lot of beef jerky, trail mix, and chicken sandwiches.  I went through several cases of water, Gatorades, canned iced teas, and local brews.  And thanks to my food friend Larry, many Stroh’s…but that’s a whole different story.  I ate tacos on the beach, ice cream in the mountains, and a couple steak dinners with good friends and former students.  I was offered a free meal at Monterrey, presumably because of my rough appearance, and got caught in a “pay it forward” chain at an In-N-Out Burger.  I forgot to eat a lot while driving, but I usually compensated by having a good, sit-down meal at the most “local restaurant” establishment I could find. 

Highway 40 was a great route westward and where the adventure really started.  There was plenty of route 66 nostalgia and roadside attractions to enjoy when I needed to stretch my legs.  My first long break was in Amarillo, Texas, where I stopped for dinner at The Big Texan (no I didn’t try the 72 oz. steak challenge), watched an amazing sunset over an enormous wind farm, slept for a few hours, and then watched the sun come up over Cadillac Ranch…quintessential American road-trip stuff.  I then pushed on, stopped briefly in Santa Fe and Albuquerque, and then traveled through the desert to my first destination, The Petrified Forest.  I spent several hours wandering through the park trying to understand the “wood petrification process”, went on my first hike of the trip, and admired the Painted Desert at several dramatic vistas.  I decided to paint and set up my easel just as the wind started really picking up.  I found out really fast that painting in the desert is no small task, and ended up giving up on the painting.  Instead, I did a small oil sketch from the driver’s seat, mostly for the sake of capturing the subtle pastel colors that I’m unfamiliar with.  I found myself captivated with the desert.  I don’t know that I would like living there, but I definitely found it interesting and enjoyed passing through (my experiences in the desert later in the trip would have me feeling differently).  After leaving the park, I drove through a lot of open land, saw real cowboys herding cattle, waved to a man sitting in a lawn chair in the middle of the desert, and moved on to Arizona’s meteor crater.  I saw the crater…there’s not much more to say than that.  By nightfall, I had made it to the south rim of the Grand Canyon.  

Saturday, July 9, 2016

Brittany

I'm glad I can spend so much time with my wife, Brittany.  Since returning from my "adventure", I've been somewhat unproductive.  I haven't been painting much.  I have, however, been reading a lot, working on some music projects, organizing studio stuff, and catching up on variety of activities that I hope contribute to my painting when I get back behind the easel.  But most importantly, I've been making plenty of time to relax with my wife.  We like to swim, cook, go on hikes, plan vacations, and take evening drives to any of the local ice cream establishments.  I'm a lucky guy.  I'm also a stubborn mule, which is testament to just how important she is...probably the only person strong enough to put up with me.  With all of the crazy stuff going on in the world right now, I like to think about how I love my wife, my friends, my family, and my students.  Remember how to love, forget how to hate.


"Brittany"
oil on canvas
24" x 30"

Another from IHA

Because I didn't paint or write anything of worth today, I'm posting old news.  Here's another painting from the Indiana Heritage Arts Exhibit.  You can still see this one at the Brown County Art Gallery in Nashville, Indiana.  The subject is of personal importance, as this is a part of Bloomfield that I frequented as a youngster.  South Seminary was "the other side of town" (a whopping mile and a half or so from my house), but a quick bike ride would deliver me to this little intersection of city streets and railroad.  There was a bicycle shop around the corner, where I would often stop to pick up tubes for my busted tires.  A few of my squirrely friends lived nearby and would always come out for a game of wiffle ball or "ding dong ditch".  The tracks served as a shortcut when running for the school's cross country team...not a particularly fast one, but we convinced ourselves it was worth the risk.  And that blue glow in the center...that's the soda machine in front of what used to be Joe's Pizza.  Joe's was a common meeting place after basketball games and staple of a young Bloomfieldian's diet.  And see that utility pole on the right?  I remember being stuck on this little street, waiting for a train to pass as my buddies and I were covering the town with concert fliers for our band's upcoming gig.  We played regularly at the teen center up the street.  I must've stuck ten posters on that pole before hopping back in the car and cruising on down the road.  I even remember the album that was blaring from my stereo that afternoon..."Full Circle" by Pennywise.  Good times.



"South Seminary"
oil on canvas
22" x 28" 

Friday, July 8, 2016

My return to Indiana, luck, and other things...

I have returned...

For the 3 or 4 of you out there who probably didn't notice, I've been posting even less than usual.  As promised, I'm back from my adventure.  Adventure is probably too much of a word to describe what I actually did, but I'm going to keep that ball rolling.  I basically just went on a massive road trip.  I drove 10,282 miles through Illinois, Missouri, Oklahoma, Texas, New Mexico, Arizona, Nevada, California, Utah, Colorado, and Kansas.  I painted quite a bit, did a lot of hiking, met up with some great friends, and saw as much of the country as I could in a month's time.  While the trip was conceived as a plein air painting tour of sorts, it quickly turned into something more sacred for me.  And if anything competes with the sensation of being all alone, days away from anything you know, searching for things you've never experienced, it's the satisfaction of reminiscing about it all from a place you can call home.  I'll post a vague synopsis of the trip in over the next week or so, but let me tell you, I'm glad to be back in Indiana.

Speaking of Indiana...while I was gone, I missed the 92nd Annual Indiana Heritage Exhibition.  It's always a great display of Indiana talent and I hated to miss the opening.  The good news...three of my paintings were accepted and one received the "Silver Award".  Unfortunately, a big part of "being an artist" today seems to be tooting your own horn when appropriate.  As much as I may toot, I really hate it.  But...it helps knowing that it's all just a matter of luck anyway.  Here's"to gambling...and adventure.


"Sheep"
oil on canvas
30" x 30"

Friday, May 27, 2016

brb

I'm off to find adventure.  I'll return with a lot to share with you...hopefully.  brb

Tuesday, May 24, 2016

A good sandwich

I'll  keep this short.  Today, I spent a solid 10 minutes composing a playlist of my favorite albums (a small selection, that is).  Totally worth it...made my day 10x more enjoyable.  Zuma, Harvest, Basement Tapes, Highway 61 Revisited, Bringing It All Back Home, All Things Must Pass, Dock of the Bay, Pink Moon, The Band, For Everyman, Exile on Main St.,Sticky Fingers, Ain't That Good News, Loaded, and Mind Games...it was a late 60's, early 70's type of day.  Also, I made a good painting.  And then...I made a really bad painting.  I had a good sandwich and then decided I like the bad painting more than the good painting.  Tomorrow, I will deliver a lot of good and bad paintings to a lot of different places in hopes that a few people will like both the good and the bad.  I'm looking forward to stopping at Chick-fil-A above all else.  Oh, and I got a new backpack...it was a good day.

Thursday, May 19, 2016

Changing Gears

So, tomorrow is the last day of school.  Typically, I'd be ecstatic.  Typically, I'd make sure I had a solid weak of "downtime" before jumping into the summer swing of things.  But atypically, this year, I've got some big travel plans that will make my first days of summer anything but lazy.  I'm excited to get busy painting new landscapes.  No plein air events, no juried shows, no obligations of any kind...just painting my way across the country because I can.  I'll probably post more about this before the car is loaded.  Or maybe I won't.  Either way, I've got to get myself back into a furious painting mode.  Where's my big hat? 

Yeah, I'm a high school art teacher.  No, I don't teach in order to support my "painting hobby".  Yeah, it's a lot of work.  No, I'm not too happy about a lot of things in our state's public school system.  Yeah, it's a rewarding profession.  No, I'm not going to teach forever.  Yeah, I love my students.  No, I won't make you a poster for your fundraiser because you "can't even draw a straight line" and it's "no big deal for the art teacher".  Yeah, I teach a discipline-based curriculum that focuses on art production, art history, aesthetics, and art criticism.  No, my students don't get an A for effort.  Yeah, many of my students are better artists than I was at that age.  No, most students won't pursue an arts-related career.  Yeah, I still think art is important.  No, I'm not entirely sure that I'm teaching for my students as much as I'm teaching for myself.  Yeah, I love my students.

I don't really know how to express all of my feelings about teaching.  While I assumed that I'd be stepping away from the profession around this point in my life to pursue my "art" "full-time", I also never figured I'd be considered a "professional artist" at this point in my life.  Six years ago, I had given up on finding a teaching position and started pursuing a career painting pictures...so go figure.  Right now, it works...so I'm going to keep the ball rolling.  I truly believe that teaching art makes me a better artist in some shape (2D) or form (3D).  I also believe that I'm in a unique position to share my knowledge of art to young people in my hometown, in the same classroom I studied art as a young person, as a practicing artist and lifelong member of this community.  It's a good gig.

You know, when I first started teaching, I had convinced myself that my sole job was to pass on my knowledge of art and ensure that my students left my classroom with a better understanding of art as culture, communication, expression, and knowledge.  I still feel a massive obligation to give my students something they can't get anywhere else.  But now, with 5 years of teaching under my belt, I understand that my obligations are beyond transferring art knowledge.  I'm "the art teacher"...and as some of you may know, being the art teacher means more than just teaching art. 

I've developed some great relationships with my students.  In fact, more often than not, I feel that I'm interacting with my peers, not "just my students".  And while I could attribute some of that to an inadvertent "cool factor" due to age proximity and my slightly wacky personality, I like to hope that it's because my students trust me....not just as a teacher, but as a friend.  Don't get me wrong, I can be an absolute pain in the neck if sketchbook assignments aren't turned in on time.  But, I think most of my students understand that I'm dedicated to their education because I'm passionate about art and I'm invested in their growth as well-rounded and educated artists in this wild world we live in.  Teaching art is not solely "my job". 

I'm going to miss some of my seniors and will, no doubt, have a hard time telling them to "keep in touch" at Saturday's graduation ceremony.  In fact, I'm going to miss the rest of my students over the summer break, too.  Inevitably, I'll lose touch with many of them.  But, for what it's worth to any of you reading this, I'm so glad I can call my students my friends.  And while I can find too many ways of verbalizing how teaching is so important to me, I'm certain that these cherished friendships are at the root of every explanation.  I love my students. 

Here's to the Class of  2016 and all of my great friends that I have had the pleasure of teaching.  Way to go folks!  Art or die!