Little Gardian

16x20", watercolor

This piece illustrates a certain location in the park near the house I grew up in. There, a dead tree lays, surrounded by tall, thinned stemmed, green plants with small orange flowers. This small valley of florescent green is encompassed by these ridges of leaf-covered floors of moss and grey colored trees.  When I first discovered this area, I sat upon a fallen tree, just over-looking this serene place. And that is when I saw him; a little guardian that protected this miniscule place of purity. I saw how it lived amongst this small place, helping the small bright orange flowers grow, and how, perched on his branch, stayed alert over his proud garden nurturing to its every need.

At first, I attempted to practice on a separate surface to try and figure out how John Howe rendered his foliage, which is established in so much of his work. Yet, I had some trouble understanding his techniques, therefore, I stuck with what a knew with some more experimentations. I will keep practicing. I hope that I can properly execute this place someday, because I really want to show my audience the true magic that this small encompassed place had to offer, with all its detail.

The Dragon's Armory

Watercolor over pencil (only the dragon), 22x9"

Thanks to John Howe for his recommendation of a watercolor brand, this little clinger of sorts has been given some color after  only being completed in a gray scale of graphite.  This small creature was initially created about 2 years ago in a sketch book that I abandoned but recently looked through.  I thought to myself how much I enjoyed this idea and I wanted to turn it into a actual finished piece. Therefore, after I have spent a good amount of money on these new watercolors that are more than worth every penny (Grumbacher), I can see the difference in the light-fastness of the color as well as the saturation that each tube brings. Finally, such bright colors that remarkably put up with my constant layering! I still have a ways to go, but this was a great achievement for a practice run with my new paints. Thank you again John Howe, and thank you to all of those who have donated money/bought prints from me recently. You have made this possible and I am grateful for that opportunity.

Grimm's Fairy Tales Series

Series for "Once Upon a Fairy Tale" Show at Westfield State Downtown Art Gallery Nov 2012-Dec 2012

"Rapunzel" graphite, colored pencil, tea stained paper. approx 20x17"

"Rapunzel had beautiful long hair that shown like gold. When she heard the voice of the witch she would....unbind the plaits of her hair, and let it down twenty ells below.

After they had lived thus a few years, it happened that as the King's son was riding through the wood, he came upon the tower;and as he drew near he heard a voice sining so sweetly...It was Rapunzel in her loneliness trying to pass away the time with sweet songs (94)."

"The Rose" watercolor, 11x14'

"There was once a poor woman who had two children. The youngest had to go every day into the forest to fetch wood. Once when she had gone a long way to seek it, a little child, who was quite strong, came and helped her industriously to pick up the wood and carry it home, and then before a moment had passed the strange child disappeared. The child told her mother this, but at first she would not believe it. At length she brought a rose home, and told her mother that the beautiful child had given this rose, and had told her that when it was in full bloom, he would return. The mother put the rose in water. One morning her child could not get out of bed. The mother went to the bed and found her dead, but looking very happy. One the same morning, the rose was in full bloom (374)."

 "The Griffin" watercolor, pen. approx 13x26"

"[The King] however, [would] not give [Stupid Hans] his daughter yet, and said he must now bring him a feather from the Griffin's tail... At length Hans arrived at the Griffin's house, but the wife only was at home, and not the Griffin himself. Then the woman asked him what he wanted. Thereupon he told her everything...'But look here, my good friend, no Christian can speak to the Griffin. He devours them all.'...In the middle of the night when the Griffin was snoring loudly, Hans reached out and plucked a feather from his tail (200-201)."

The Fox and the Horse, watercolor and pen

"A peasant had a faithful horse which has grown old....'...if you prove yourself still strong enough to bring me a lion here, I will maintain you...' [says the peasant to the horse].

'Why do you hang your head so, and go about all alone?' [says the fox]... 'I will help you. Just lay yourself down, stretch yourself out, as if you were dead, and do not stir.' The horse did as the fox desired, and the fox went to the lion...'A dead horse is lying outside there, just come with me, you can have a rich meal....I tell you what-I will fasten it to you by the tail, and then you can drag it into your cave, and devour it in peace.'...The fox tied the lion's legs with the horse's tail, and twisted and fastened all so well and so strongly that no strength could break it...[Then the fox says] 'Pull, white horse, pull (147)"

 "The Nixie of the Mill Pond" watercolor, approx 11x14"

"One morning [the man] rose before daybreak and went out into the open air, thinking that perhaps there his heart might become lighter. As he was stepping over the mill-dam the first sun beam was just breaking through, and he heard a rippling sound in the pond. He turned round and perceived a beautiful woman, rising slowly out of the water. Her long hair, which was holding off her shoulders with her soft hands, fell down on both sides, covered her white body. He soon saw that she was a Nixie....and in his fright did not know whether he should run away or stay...But the NIxie made her sweet voice heard, called him by his name...(470)."

Reference: Grimm's Complete Fairy Tales. Nelson Doubeday, Inc. Garden City, New York.

They Speak in Silence

 "Reflection of Age,"Ceramic, approx 1 1/2ft x 1ft

"Look into my Eyes", Ceramic, approx 1 1/2ft x 1ft.

"Forever Frozen" ceramic, approx. 2 ft x 1 1/2 ft

After my previous piece, I have gained experience to make another entirely different fountain gargoyle. One thing that you may notice that may seem out of the ordinary with this piece is the shell statically placed between the 2 coiled pieces up top of her head. The reason for this is because the top head dress part of the woman's forehead broke off during the first firing, leaving a blank and vast space. Once I saw it in this state I, was mixed about how I felt about it. Although I loved the top part of her forehead, where a coiled leaf like structure broke of into three different parts, without it gave another personality to her. And as I said before and as my Professor has told me, with clay come adaptability. Either way, once I find, or even make, some other peice to really complement her more, I will post it up ( maybe even a small vessel holding an ivy plant). Until that time, enjoy her beauty in all her imperfections.

"Guardian of the Waters" ceramic, approx. 1 1/2 ft x 1ft. Glazed with Phannessa's Green

This was my first attempt at the soft slab idea. Although this idea came from a complete failure of the very first attempt on the idea, I was glad that I had to start all over again. Working with clay has given me a sense of patience that no other medium has given me thus far. With clay, one has to form every aspect but be open to the fact that the clay will initially tell you what it wants and what it can do. Ultimately, I have learned the valuable skill of adaption, because, with clay, you have to form with it, not it forming to you.

The Impossible Encounter

"The Impossible Encounter" watercolor, ink on paper. 11"x30"

This was an adventure in itself filled with possibilities!

~Let it Flow~

Admiration

20x7", watercolor, ink, colored pencil on arches hot press paper.

In going through an artist-block, I was directed to my 'little savior' as I call him. The words my inspirational partner said to me on this most eventful day (I must tell you reader that this block was going on for about a seven month period), directed me to re-think myself as an artist and as a thinker. I have been trying to be the best (like Borris, Julie, or John) in the swiftest path that my artistic ability allowed, which I felt at the time should be instant. But, thanks to my partner, Chris, I was taken aback from his words. Those words made me sit and think, not forcefully, but just think. Once I felt I was ready, I retrieved a piece of scrap to just doodle, but I saw a pre-cut piece of Hot Press that directed my mind into another direction of thoughts.

Therefore, I had this interest to paint a sky (didn't really know how, just went about it). Yet, the sky didn't seem right to me, and with that I shorten it a bit (which is the explanation for the abrupt edges of the mountain and clouds). This then led to that protruding grass-covered mountain-peek. Before I completed this, I was captured by how I painted the arched atmosphere the clouds displayed, creating a perfect framed in area that seemed empty. That was when my little savior came in. When taking my time in coming up with the idea of this creature, I took my time to make sure I got the idea out just the way my mind pictured him. With that, my mind just seemed to 'click' with formality, clarity, inspiration, and ability. I now have a firmer grasp of ideas and a constant flow of ideas. As I am still growing as an artist, I now have an idea I always fall back on. This piece and how it reminds me of that period of time which then reminds my mind the process it went through to unlock my potential ideas.
Who knows, maybe this will be a cover to a book someday.

The Man of the Hour

Headdress of the Crow

graphite and pen/ink. 18x24"

I have been drawing only women lately only because of the fact that a woman's figure has a larger range of versatility to my subject matter than that of a male figure. But I came upon myself to start not with the initial idea for a whole piece, but with the figure itself. I searched for a photo and started there. What ever came to my mind I just drew on the paper. I also promised myself to not change anything once I put it down, gave my mind a 'feel of the moment' kind of thought process. 
I drew what I felt; a way of chance and choice. Which is why you see reminisce of crows and black feathers since I have been seeing crows everywhere and just felt at the time to give them inspirational justice. I did very much enjoy just being able to put any design-like element anywhere I wanted on the piece. It was a fun and free process. I think because of this piece I will probably be drawing more male figures from now on. I really enjoy the curves in this figure, still very feminine, but still masculine.

Vitruvious

paper stained with tea, graphite, burned at the edges, approx. 14x24"

A tribute to Leonardo da Vinci 
I wish I could have met the man. His ways of handling art is so unfathomably amazing!

The thought behind this piece was the idea of perfect proportions, but I included the idea that a bird's wing span, which is generally 3 1/2 to 4 times the size of its body from neck to the meat of the tail (excluding those with long necks). 

A Work In Progress

The finished project!
 "Domare"(latin for Tamed)

 Watercolor, graphite, white ink on watercolor paper. 18x24"

The reason why I gave it this name is because it is the first thing that I see in her eyes when looking at the piece. Generally, the audience can go either way with. One may think with the woman's muscular features, she contained the strength to subdue this massive creature. Yet, her eyes display such a passive look, as if she is giving in to the beast itself. Either way, both subjects display strength and power but submissiveness and dominance rules the composition. Just another way to interpret how we may feel as if we hide the unwanted quality in us, but we just show both in different 'strengths and weaknesses'.

Round three. Its coming along fairly well. I am in shock as to who the water is coming out. This was my first time attempt to paint water. At first, I took a glanced at one of John Howe's pieces, where an ocean serpent was attacking a ship, to comprehend how one goes about painting water. I can see by his piece that it was fairly, well, watery. If you are reading this and you are a growing artist, I give you a challenge: If you don't know how to paint/draw/create something, look at a reference for only a moment or two, put it away, and try to work from what you have in your mind or what you already know. Don't be afraid to play around with art! The only way an artist learns something is to jump right into it. Even if you are afraid you might ruin it, just create. I was on this piece, but it is coming out quite well for my first try.
Second round of this piece as it goes along. Yet, college has been giving me too much busy work that prevent me from really putting all my energy and effort into this piece. So it is taking a bit longer than usual. But little by little this maiden will take people's breathe away.

Untitled (at the moment)

I've been asked lately from my peers to put up some pictures of a piece in progress. Of coarse, this piece is a couple of steps ahead compared to its drawing stage. It is my first true attempt to paint a figure and everything around it with watercolor. But, I have to thank my good friend Danny for the human. Without his unique way to painting a figure with watercolor, I would not fully understand how to paint it, and his stuff is just amazing so look him up please!

"Winter Horse" 16x20", watercolor, graphite, and pen. NFS.

"Summer Horse", 16x20", watercolor, graphite and pen. NFS

Both are private commissions and fun ones at that.