"To be focused and dedicated to doing one simple thing can perhaps be the most transformative thing."  -Artist Louise Despont

Just watched PBS’ Art 21 video with artist Louise Despont. I’d never heard of her but am thoroughly inspired by her drawing process using architectural templates and repetition. She works in a spartan studio on the floor, intensely drawing with pencils on smaller sheets of paper that she combines to make much larger patterned images.

I can relate to the obsessive process. She’s very eloquent in describing why this process touches the Universal.


untitled (photographic painting using light and miscellaneous liquids)

fuji 100c



(via pbsarts)

This past Friday I went with my friend, artist Brian Hitselberger, to see a retrospective exhibition of Don Cooper’s artwork at the Madison Morgan Cultural Center in Madison GA.

It was a super inspiring show in a beautiful building. I really have to hand it to the Center for how perfect the galleries are for contemporary artwork, and how sophisticated the hanging was. The Center is housed in a gorgeously restored Victorian school building with incredible historical details. It’s located downtown amidst restored architectural gems spanning back to the pre-Civil War era. It’s well worth the visit to see the town as well, and it’s only half an hour from Athens GA.

ANYWAY, I first met Don at The Hambidge Center in 2000 where we were both doing an artist residency. I saw his work in progress during the Cosmic Egg series (seen in the last image). I later happened on an opening of his in Atlanta where I saw his Bindu series (the rest of the images). This series really blew me away! He paints a bindu (or point/dot) in the center of the canvas or paper, then rings it with concentric circles that expand outward.

My favorites of these were the watercolors on rough Indian handmade paper (seen in the photo with the bench and in the next four details). His color schemes are so surprising and fresh. I like the system he’s set up for this series: the centered concentric rings. It makes the color choices and the differences in spacing between the rings exciting in their variations. The works pull together as one piece with many parts. Given the lighting and the quiet in the gallery, the Bindu paintings created a spiritual, contemplative space.

The exhibition runs through mid-August.

Nothing as It Seems: John Avelluto’s Unrelenting Emptiness ›

C’est ne pa graph paper.

For those of you who are obsessed with graph paper and grids like me, check out the work of John Avelluto who made these works entirely with acrylic paint. This review on Hyperallergic has a really interesting take on a way to think about the work. Here are some installations shots at Studio 10 in Brooklyn. I really love the way they hung the show.

Messing around with some small origami paper squares and a variety of colors of washi tapes. I’ve been really into experimenting with simple color combinations lately. Collage is a nice way to experiment with color because trial and error is quick and serendipitous surprise color schemes are inevitable.

Playing around with some pressed leaves in my blank sketchbook. On the simplified background, their graphic shapes and branching structures really stand out.

This screenprint is now available through my Etsy shop!

11 x 14” six color screenprint on 140 lb whip cream French Paper with rounded corners

Edition of 30


Last summer, Katherine McGuire and Amanda Burk of Double Dutch Press in Athens, invited me to participate in their triannual “[blank]” screenprint series. I designed the print, and they then screenprinted the image. Their craftsmanship is impeccable and they were amazing to work with. I highly recommend them for any fine art screenprints projects.

About the print: I wanted to take advantage of screenprinting’s ability to make process color prints, or Cyan, Magenta and Yellow in translucent overlays. I drew one long vertical rectangle with rounded corners sited low on the page, and simply repeated the same shape with a slightly different registration each time. The 6 passes of translucent ink in those 3 process colors (each color was printed twice) created various combinations of colors where the shapes overlapped. In the center, a neutral gray is formed. Simple, surprising, and fun! I was really honored to be a part of this project.

Attempting to make some drawings. Sometimes my studio mate is distracting and pushy.

Last night, I ran across some student work from Seattle artist Ken Kelly at the University of Georgia’s Art Rox Athens exhibition. The exhibit showcased the incredible creative boom and cross-pollination of art and music of the late 70s and early 80s in Athens GA. Ken was an undergraduate at UGA during that time and had a couple of his minimalist works on paper on display. I really loved them and got the opportunity to tell him so.

I looked up his current work this morning and decided to post a few of my favorites. The patterning reminds me of textile interweavings, and the repetitive mark-making process is really interesting to view and empathize with.

Most of these are very small, only 8x10” or 16 x 20” (with the exception of the two bottom pieces which are about 40 x 60”). The surfaces seem very rich and thick, making the small paintings almost sculpture-like.

These are my first ceramic pieces. I made them at R. Wood Studio where I work and where they’re available for sale. The designs are inspired by the plants I see on my walks in the woods.

The clay is slab formed from terracotta, then glazed with white or warm gray, then painted by brush with these lines drawings.

A spotlit fern and moss from my walk this morning. This is the kind of foliage that gives me ideas for drawings.

In the woods, light filters through the trees and sometimes creates perfect little spotlights on quiet, beautiful moments.

A friend alerted me to the tranquil paintings of of Eric Spehn.

The larger images here are followed by a detail of that painting. (Top two pics from my friend, rest of pics from Spehn’s gallery.)


TateShots: Vija Celmins

Great studio visit with one of my favorite artists, Vija Celmins.

This set of my plant postcards is headed to Connecticut!


Great How-to for Framing Art Cheaply ›

^ A thorough guide with some great ideas.

I love making and collecting works on paper, but it means framing them in order to keep them protected and to display them well. Luckily, through art school and loads of exhibitions I’ve learned how to frame things myself. This isn’t necessarily an intuitive skill, however, and while gorgeous, professional frame jobs are really expensive.

Not so expensive is getting the framer to cut a mat, or maybe even your local art supply shop can do that. Plus, if you wait to frame several things at once, you can save on the archival* mat by buying the large sheet at the art supply shop. Most shops will cut it down for you (the edges, not the windows) for a pittance or for free with your mat purchase.

* It’s worth it to pay extra for the archival mat if you’re framing an original work of art. Otherwise unsightly yellow acid stains will develop, and will ruin the artwork over time.