Walking around jenkintown looking at the side wall of a brick faced drug store. golden afternoon light. early fall.
for an assignment for the landscape class i was taking with richard cramer at tyler. first time i was sketching cropped images of the suburban landscape.
the first turn towards my environment, somewhat immediate, for a source. something that i have revisited time and time again. sometimes this documentation of my place, my space is very tight in scope and at other times wide and varied. it has become a defining thread in groups of my work.
the next time i revisited this theme was at 740 france street in baton rouge. the place with the checkered floor and drawing board in living room, the oversize dining table, and the low riders parked in the foyer.
done as monotypes. a series of prints capturing stillness in our space. gaps. the overlooked, and sometimes, the obvious.
done as monotypes in the print studio, based on drawings from the house... i think. i can not find the sketchbook that would have these preliminary works in it. i don't believe they were from memory. hazy. just plain hazy. this non-recollection is disappointing.
done as monos. why? i've always liked the flatness of lithography, monotypes, and silkscreen. the indirectness of the artist's hand. one step removed from the actual creative act. monos because they are as unique as you get in printmaking and the most immediate in terms of process.
i think i saw my first george clinton show while working on these. playing southern culture on the skids a good bit.
the drawing board.
i continued documenting my places in san diego. a few monos. many others became relief prints.
from our 2nd apartment, in the same small complex.