On The Easel Today.

This edition of On The Easel today March 27, 2017 features my second installment in the Boots and Bricks series. This painting is a little different from the first in the series. How different you wonder? Well in this piece, the bricks are those of Athens Ohio, and the shoes are different. In my description of the first painting in the series, I highlighted that it was created for the town of Nelsonville, and represented what the town is historically known for: its bricks and Rocky Boots, which headquarters there. In this new painting the bricks of Athens Ohio are immortalized by my hand, and the representation of the culture and people are in the style of shoes I placed in the composition.

Similarly to the rugged work boots which represent the hardworking and blue-collar workers who built the town of Nelsonville, the youth and modernity of the culture in Athens is represented by the shoes in painting. The Converse brand of shoes is a common sight around Athens, and in my interpretation of what best symbolizes the predominant age demographic in the town; it was fitting to use this idea. In all my paintings I aim to have you be apart of the piece, not just be an observer, and this piece is no different.

The seemingly magnified view of the elements in the painting is done to visually engage you in the artwork, bringing you close to what I actually see every time I look at the bricks while walking down Court Street on a rainy day. In painting this, I told myself that I wanted my viewer to not look at the bricks the same again. I want you to see the history, see the work put in to lay those bricks, and how similar those bricks are to the people in the town. A brick by itself is just another brick, and no two bricks are the same.Yet when put together, they create something special, and make a place that more historic based on what they created.

 

On the Easel Today.

This edition of On the Easel Today Tuesday March 7, 2017 features my newest painting titled ‘When The Rain Comes’. As many of my other pieces, this painting contains a particular mix of symbology that encompasses my interpretation of a number of feelings and situations in my life; and on a broader scale, topics, ideologies and feelings that many people face in their own lives every day.

Upon analysis of the work, the imagery is in your face, bold and detailed in its presentation. My palette was deliberate, and specific to the overall mood I intended to capture. I tackled the topic of ideology and its emotional effect through my depiction of the figure in the piece. I’m confident that in your initial analysis, you will think of this figure as a black Jesus, but let us take that interpretation a step further from the norm of the popular Western religious ideology. This piece explores the system of ideas and ideals that cause us to all have such a first impression, and aims to broaden your thoughts beyond what you have come to so easily interpret at face value.

Particular elements in this piece serve to engage you in the significance of the ideas I propose. This work is not only about being black, and facing insurmountable challenges as a result of our affliction, but also about being human and apart of a system that causes one to sometimes feel crucified based on ones personal ideals, feelings and simply the day to day challenges, that sometimes outweigh the good that happened in your life a short time ago. The point of view in which the work is done is very intimate, and symbolical as well. Looking from a birds eye view down on the subject gives the you an observative perspective, similar to looking through a magnifying glass down at an anthill with the curiosity and fascination of a child.

Throughout the painting there are raindrops, and this is the basis of the title. Metaphorically the raindrops represents the aforementioned challenges of ideals and feelings that seem to fall like rain on us when life is, needless to say, tough. Those challenges are what oftentimes put me ‘in the shoes’ of Jesus, in the story of the crucifixion. The detail in the piece is done to involve you emotionally in the work, bringing a greater understanding to your period of seeming crucifixion and personifying it. So many people are soaking wet from feeling that rain of challenge and despair, while knowing that some go through this life seemingly impervious to those challenges that countless people face every day, and are subsequently incapable of empathetically relating to the feelings of others facing those challenges.

This painting is geared at allowing people to understand perspective, and as Bob Marley famously said in one of his songs “some people feel the rain. Others just get wet.” So in your observation of this painting, keep in mind perspective, challenge yourself to let empathy guide your perspectives, and never forget to feel the rain, not just get wet by it.

 

Portrait of St. Leo (Usain St.Leo Bolt).

Who is the fastest man in the world, do you know? If you are into sports, especially track and field this question is easy to answer: Usain Bolt. When I say his name it brings chills and goosebumps to me. Why, you may ask? It’s not only because he is the greatest sprinter in the world, and its not only because he has broken his own world records multiple times either. It’s because he has transcended the term “track and field icon”, and the fact that he is Jamaican makes it even sweeter. Usain St. Leo Bolt is not only the fastest man in the world currently, he has been so for quite a long time now, and will possibly stay that way for decades to come, possibly forever.

Usain is one of us. When I say that I mean, he is one of us Jamaican boys, having dreams of being like the sports icons we admired growing up, or one of the many people who have made a positive and permanent mark in this world, like Marcus Garvey did, and Bob Marley. Growing up in Jamaica and running around barefooted, playing football (soccer) outside with the other children in the neighborhood…just being rowdy island boys is the norm, and to think that Usain came from such humble beginning, to now being one of the biggest names in the entire world, words cant really describe the feeling it gives. When he shattered arguably the most iconic of all records, which he set a few years before at the IAAF World Championships, clocking 9.69 seconds in the 100m sprint and claiming the gold medal, a new identity took shape- a new identity for not only him, but for us as Jamaicans- for us as Jamaican men.

Coming back in 2009 and outdoing what he did a few years before to clock a blistering 9.58 seconds, which to most was the most unbelievable thing they ever witnessed in their professional career, and in reality, ever, Bolt set in stone his mark on this world, and a mark for Jamaicans everywhere. A standard was set. A standard that makes Jamaicans everywhere walk with their heads high, flags high, and voices send out. For this small country, no bigger than Colorado to feel like it is the biggest country in the entire world, with the proudest and most patriotic people in the entire world, it causes chills and goosebumps. This is why I wanted to show my appreciation for him by doing this portrait. In this portrait, I aimed at capturing his intensity in profile and also this silent charisma, that plays well with his bravado.

Artistic battle royal.

Have you ever heard of the name Stewart Davis? How about Clarence Weinstock? Well if these names are familiar to you, you may be aware of the dialectical back and forth between them regarding their views about abstract art and representational art. Davis was a painter whose work tended towards abstraction, even though he rejected the art-for-art’s sake position. He addressed the economic condition of American artists during the period of the Depression, and was a prominent figure in the Artist’s Union.

Weinstock, assistant editor of New Masses and subsequent editor of the Artists Union bulletin, published by the WPA federal art project group in 1934, had his own opinion about abstract art that contradicted those of Davis- while expressing his support of representational art. This exchange sheds some light into left-wing artistic debates in the 1930s in the United States. Davis’ introduction to the catalogue of an exhibition at the Whitney Museum of American Art, New York, February to March 1935 states his defensive stance of abstract art. Davis’ essay was placed in Art Front, by then magazine editor Clarence Weinstock (vol. 1, no 4, New York, April 1935).

Weinstock shot back with a response stating his position, which claimed that figurative art alone could adequately address the conflicts of the modern world. I am sure at some point in your life (if you enjoy looking at art) you have asked yourself while looking at an abstract piece, what is this saying? Or what is it supposed to mean? For me being an artist that enjoys looking at art, and who understands it, I have asked myself this question numerous times as I view an abstract or semi- abstract piece. This is normal I’ve come to realize, because to understand abstract art one has to understand how abstract artists view their medium of expression.

Davis, in defining abstract art highlights that the definition would vary, depending on each artist’s opinion as to what abstract art is to them; however he says that there is a general concordance of opinion that supports the generative idea of abstract art as a living thing that changes, moves and grows like a living organism. This outlook on art far exceeds that of any that I have ever heard before, and one that is important to remember when talking about any piece of art, abstract or representational. To an extent it defines how many artists see their work- and shows the personal value that it has to the artist.

Weinstock retorted by flipping the script a little, saying that ‘any painting may be considered abstract, at a certain stage of analysis’. His opinion here has some truth to it, where in that stage only the color-form categories are being highlighted for study. He furthermore stated that even the most abstract painting could be seen as representational to certain viewers, whether in simplicity or complexity based on the person’s perception of arbitrary space relations. His take is very compelling and adds a very different outlook on the perception of works of art.

Weinstock in his rebuttal of Davis’ opinions made some very exceptional assertions, that makes this debate one that will forever go on. At any rate, the battles of words over the years between the ideas of abstract artists and representational artists have helped to evolve our beloved craft. Now in the 21^st century we see a culmination of ideas that pair both the usage of abstract and representational art to create new works of art, that cohesively intertwine the alluring aesthetics of both mediums of expression.

This cohesive relationship is seen widely in graphic design and digital illustration. We see that as the world advances technologically artists have evolved as well, and discussions are not so much now about the contradictions between the artistic expressions, but the fusion between them that will unlock ultimately a new frontier in art in the future.

The Essence of Woman Exhibition.

“Throughout time, women have been a favorite subject of artists of all mediums. There is both mystery and awe to be found in their femininity, fertility and the curvature of their bodies”. The Essence of Woman Exhibition was held on Friday May 20, 2016 at the Garrett Museum of Art, in Garrett Indiana. The juried exhibition featured a collection of works from a broad range of artists locally, nationally and internationally and boasted different works of art, from paintings and photography to sculpture.

The gallery itself was a wonderful venue, with large exhibition floors both upstairs and downstairs, that accommodated all the pieces that were accepted for the exhibition. This was a great opportunity for me to be apart of an exhibition in a town where art is valued and appreciated, and gain exposure as an upcoming artist. Seen above are two of my three entries in the exhibition: ‘Blissful Reminiscence’ and ‘Finally Free’.

The exhibition kicked off with a silent auction May 19th, honoring Dekalb County Domestic Task Force- raising awareness to domestic violence victims. I donated one of my paintings for this cause, which ended up being purchased by a collector who happened to stop by the gallery that day on a business trip.

The following day the exhibition officially opened with an artist reception, featuring a local jazz band, which set the tone for the evening. Hearing all the artists and patrons mingling and engaging in art talk was the highlight for me, as I not only got to meet some very interesting people, but I also engaged in discussion about my work and my creative process.

Gallery director Jim Gabbard (seen above) along with his team did a wonderful job at curating, and ensuring that each artist felt at home there at the gallery. The painting in the background titled ‘The Star Maiden’ was done by yours truly, specifically for the exhibition, and received the honorable mention award at the show. The exhibition went very well, and at the end of the reception I was surprised to know that one of my entries was selected to represent the show in the Journal Gazette (here), a local paper there in Indiana, and the hard copy was presented to my by Mr. Gabbard.

This was a great experience for me, and many of the other artists who participated in the silent auction venture and the exhibition. I’m looking forward to future exhibitions at the Garrett Museum of Art, and working alongside their team as I grow as an artist and continue on this splendid journey fulfilling my dreams.

On the easel today.

On the easel today July 24,2016 features my newest painting, Muhammad Ali. The world seemed to hold a solemn moment of silence upon knowing of the death of this great human being on June 3, 2016. I sure did have a moment of silence. In this piece the aim was to capture the likeness of Ali in his youth, expressing his kingly character. The representation of Ali in this light signifies his dominance and even his own personal outlook about himself. His bravado and bravery mirrors a confident and unapologetic persona, that captivated the world and stood as a beacon for individuality  and personal belief.

Ali, famously known for his brash comments in press conferences, and confidence in the ring is represented as how I see him; a cultural icon. There is a special relationship that works of art share with a person’s culture, and I see men such as Muhammad Ali as kings in my cultural beliefs-hence his representation.

In this piece you will see an aspect of my style that is evident throughout most of my portraits and representational work; the faint glow on and around the figure. In my paintings depicting figures, I use this to represent the personal aura of the figure or portrait that I am depicting. It speaks to the contained spirit that gives off its own unique light, as we do through our personality. I did run into some difficulty with this piece, seeing that I was using a black canvas, (I’ve come to prefer these) however, they worked themselves out eventually.

I don’t intend to create “art of the times” I aim to create art that shows an understanding of the integral relationship that is shared between art and my ethnic group; not just ethnic group though, but my perception of males and females of my race.

Despite the maxim: Everyday something new, which seems to define the creation of art in the modern era, because of the accessibility to more information from around the globe, I want my paintings to stay true to the idea of my art being about the relationship between its aesthetics and my cultural beliefs, rather than an emotional response to the happenings of the world.

On the easel today…

Today 4/29/16 On The Easel features my newest painting. Inspired by my love of figurative art and the female form, this piece explores the anatomy of the voluptuous, athletic female figure. I intended to create a mystical dreamlike effect that enveloped the form and add a unique sense of emphasis on the figure in the composition. I intend to incorporate the use of delicacy in the background as I create the mystical surroundings, but at the same time use the power of strong skin colors that highlight the muscle structure and form of the figure. Creating subtle details in the background i want to allow the colors’ layers to create depth in the piece, which will pull the viewer into the piece beyond the figure.

Upon completion, this piece along with two other figurative paintings I created will be apart of an exhibition at the Garrett Museum of Art in Garrett Indiana.

Slowly but surely.

 

How often do you quote your parents in what they have said to you over the years, once, twice, more than that? I don’t quote my parents very often, but there are always certain things that both my mother and father have said to me over the years that have stuck with me throughout my lifetime. The title of this blog post is one such quote: “Slowly but surely”. This is something that I remember my mother always saying to me growing up, and she said it with conviction and hope. It is a quote that has stuck with me throughout the years because it has given me hope, and taught me to be patient. Things will come my way, but they won’t always come as quick as I would like, but surely, they will be mine one day.

With this in mind, I wake up every day with hope, despite my trials, doubt and setbacks. In my very young art career where doubt faces me every day, with the prospect of failed attempts at reaching audiences, the constant fight between traditional art and modern ways of expressionism and cybercrime, where your artwork can be easily stolen and manipulated, I still persevere saying: slowly but surely. With my many attempts at becoming a revered visual communicator I have made some wonderful connections and have subsequently been published a number of times. One such publication is through the Athens Messenger’s Artist Studio section. View here. This publication explored the type of art I create, the inspiration behind most of my art and my experience as an local artist in Athens, Oh. The publication landed me a number of commissions throughout Athens where I created some wonderful artwork for a few personal collectors.

Being a traditional artist is a struggle in this digital age and in the age of modern means of creating art, like graphic design, which reigns king. My goal however is to be a traditional artist who brings back to the forefront the joy of traditional painting, like the old masters of classical art did. As I grow as a visual communicator I will continue to remember the words of my mother: “slowly but surely”, and one day surely all my goals will materialize how I’ve always imagined them.

 

On the easel today…

Today 8/27/2015 I have on my easel a piece that initially begun as a warm-up painting, if you will, to a commission I recently received. I say “warm-up” because I sometimes take breaks from painting, and when I get back in the mode small paintings are my practice pieces. In a sense I refresh my talent. I initially thought this painting to be an experiment with technique as well. In so doing I would also find my comfort level, seeing that the commission would be considerably larger. After posting some initial pictures of my process on sites like Instagram and Facebook attention towards the piece grew, that’s when I decided to not only use it as practice but as an actual composition.

The colors I chose in the piece were from a very warm palette. I also wanted to add vivid life to the composition through the application of bright highlights coming from the setting sun, which I wanted to affect almost every object and every part of the painting. I wanted to create a calming mood; the mood you get in the late evening, leisurely walking along the beach, enjoying the warmth of the setting sun on your skin.

I added some natural elements to the composition- rocks, a few birds in the distance, little patches of land rising up out of the water showing depth, and a sailboat. These all serve to harmonize the whole composition. In the lower right of the composition an easel with a canvas propped on it is present. On the canvas an unfinished representation of the sunset in the background is present. I used this technique to create a dual point of engagement for the viewer. I want you the viewer to be engaged in the piece, where you can imagine yourself being the one painting this beautiful scenery, right out on the beach.

Feel free to leave a comment. I would love to hear them!

 

WELCOME!

Welcome to Adrian Blake Fine Art & Illustrations. Here you have direct access to my portfolio, my creative process and little insights on the meanings behind my artwork. If interested in purchasing a piece or requesting a commission, please feel free to send me an email at narcisus09@gmail.com. Questions about my creative process or any of the pieces on this website are welcome. I encourage every visitor to my site to leave a comment in the comments section, because I want your feedback. That feedback adds you to my creative process.