Salt Air, Cutler, Maine; Bob Franke; exhibit information

Salt Air, Cutler, Maine

 oil on canvas  32" x 32"

"What can you do with your days but work and hope

Let your dreams bind your work to your play

What can you do with each moment of your life

But love tip you've loved it away

Love til you've loved it away."

Bob Franke

For anyone in the Northern Virginia area, here are the particulars 

of this week's opening of my show.

Dean Taylor Drewyer

Recent Paintings 2014 - 2016

The George Washington University

Loudoun County Campus

Enterprise Hall, 44983 Knoll Square

Ashburn, Virginia 20147

Opening Reception

Thursday, 26 May, 6:00 to 8:30 pm

New Wave; Theodore Roethke, Fairfield Porter; "To move among mysteries."

New  Wave

 oil on canvas  32" x 32"

"Those who are willing to be vulnerable move among mysteries."

Theodore Roethke

"I think it is a way of making a connection between yourself and everything."

Fairfield Porter

A new way of looking at a familiar visual incident leaves one exposed to doubt and questions. At the same time it is a source of joyful engagement - a kind of 'lets see if we can go down this path.'  That feeling of engagement and doubt is a driving force in getting me up and out to the studio or in the field each day. The possibility of moving among mysteries while through vision and hand and heart, connecting myself to everything.

Now, seeming much more vulnerable, I will have on display to the public a set of paintings representing the last two years' work. The most difficult aspect of this is the interruption from my working routine. I eagerly await the day after opening night when I can get back to my work at finding ways to engage with the visual world.

Rollers, Outer Banks; Martha Graham, "Blessed Dissatisfaction"

Rollers, Outer Banks

oil on canvas  16" x 24"

"When I see my work I take for granted what other people value in it. I see only its ineptitude, inorganic flows, and crudities. I am not pleased or satisfied."

"No artist is pleased."

"But then there is no satisfaction?"

"There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others."

Martha Graham's advice to dancer & choreographer Agnes de Mille

To conjure an image

first we must see

down to the bones discovered

and sinews holding tight

to secrets hard won and unkempt.

The eye informs the heart

to bring forth a shimmer memory

as long as magic convinces

shape and form and space

to meld mystery into one.

The imagined will find 

a source in the true

but cannot stop there,

for our hearts need both

to embrace the sky.

Here's to each one of us and our own version of that 'blessed unrest!"

Anne Dillarrd, the discoveries in art; Crumpled Brown Paper Studies, hard won stages of painting

Crumpled Brown Paper 4

 oil  11" x 14"

Crumpled Brown Paper 3

 oil  8" x 10"

"In art the discovery is often gradual - a process of minor discoveries, in fact - riddled with uncertainties and the potential for making that which is discovered 

vanish before your eyes, like a mirage."

Anne Dillard

In a way, that threat of all one has discovered suddenly disappearing, is the thrill that attracts. Can one beat the inevitable? Are you good / focused / driven enough to maintain material and mind with the intensity of observation required. Anyone painting long enough has felt it happen - that extra touch, the distracted moment and the structure goes flat, the air leaves the atmosphere, the color gets dirty. One of the earliest learning events is the simple recognition that it has happened. A hard won skill is figuring how to try to get back to the original crisp and poetic vision. A much later and more difficult skill is to stop and see and restrain the need to do more, to sustain the original vision. When one can get to that place of seeing and knowing and recognizing the poetry - the feeling is so wondrous and and exalted that it will keep you late at your work and awaken you early the next day.

Pisarro; Diebenkorn; Gallon Pickle Jar

Gallon Pickle Jar & Brown Paper

 oil on panel  11" x 14"

"Blessed are they who see beautiful things in humble places 

where other people see nothing."

Camille Pissaro

"My freedom will be so much the greater and more meaningful, the more narrowly I limit my field of action and the more I surround myself with obstacles."

Richard Diebenkorn

Why brown paper and a jar? First, I was entranced by the fall of light and shadow across the surface of crumpled brown packing paper. The brown paper also offers a possibility of various color schemes to create a neutral gray while allowing pure color to escape into the shadows. The jar was added as an element completely opposite in terms of handling and surfaces and transparency. These all being fascinating problems to solve with thick, opaque paint. Perhaps that is the key to how I happen upon subjects, where ever I find myself - the seduction of technical difficulty or problems to be solved and overcome - combined with the emotional original connection - the poetry. The poetry of a given subject is what Pissaro refers to - the curious turn of mind that allows the discovery of the fascination, the beauty of ordinary subjects. I have found in 40 years of painting, the fascination of visual exploration is of the greatest satisfaction. Enjoy!

Marcel Proust; Fairfield Porter; Stormfall

Stormfall

 oil on panel  16" x 16"

"I think it is a way of making the connection between yourself and everything. You connect yourself to everything and that includes yourself, by the process of painting."

Fairfield Porter

"I must ask my mind to make one further effort, to bring back once more the fleeting sensation."

Marcel Proust

This painting came from a walk in a wild park not far from where we live littered with cut up and broken trees from a severe storm that had passed through the area a couple of years ago.  I can't walk through chaos without wondering how order or understanding might be discovered within. I have developed over 40 years of making paintings the understanding that held within that search for form and coherence lies my interest and energy and joy. 

It contains that "connection to everything" of which Porter wrote.

But then, this work was so complicated that it required an extended look and rework in the studio, away from the original subject. It is then the painting reveals what it needs and how to proceed - when I have to make that extra effort, "to bring back the fleeting sensation."

Crumpled Brown Paper; 'like children at a game;

Crumpled Brown Paper 1

 oil on gesso panel  11" x 14"

Crumpled Brown Paper 3

 oil on gesso panel  6" x 8"

Children At A Game

Perhaps it is just as well,

what with the Terra firma

shifting as it does,

most unexpectedly, 

that we are without

the warning of a

dawn's early light 

leaking from a break at the milky horizon,

allowing our small preparations

for the terrible days.

How can we know, confronted

with the everlasting silence,

what to say?

Like small children at a game,

everyone pretends to have a scheme

to get home at the call,

"all-ee all-ee in free."

Mine is a near blind reach,

for any fugitive light,

drawing a path out of darkness.

Images left behind as hopefull markers,

like breadcrumbs scattered

through the forest.

from Hedging My Bets

by Dean Taylor Drewyer

Crumpled brown paper under a spotlight, perhaps not your usual subject. It's just paper some supplies came wrapped in, far superior to little styrofoam popcorns or bubble wrap. I was searching for a trigger to get the winters' painting started and saw the paper under a light and was blown away. I'm a week in and see no reason for escape - sharpening my senses to shadow and light; directional movement; dynamic space; warm and cool nuanced color. Fun and games and wonder. Enjoy!

Center of the County; Order and Chaos and never looking away; Akira Kurosawa

Center of the County

contee crayon  14" x 20"

"To be an artist means never to look away."

Akira Kurosawa

I have been swamped by the task of cleaning up the studio as we head into the winter. You must understand something about my studio - it is an old one room school house and as such is a little rough, more workshop than pristine, white painter's space. My carpentry tools and a good deal of cast off stuff from the house are also there, filling the corners and loft with God knows what. Plus the painting gear for the field; the huge studio easel and paint table and stretchers and panels and on and on.  Each late fall I try and bring order out of chaos - which just happens to be perhaps the most important task of the artist as well.

It is important to remember that one cannot impose this order or form upon the visual, physical chaos that comprises our environs. Instead an artist is an explorer, searching to discover and recognize understanding or some kind of order that lies within. It is, I think, a kind of alignment with one's surroundings that can only result from never looking away. A task that belongs to all the art forms, at their best.  So, as I finish and begin to restart the painting engine within, I will greet the new year again eager to never look away and try to discover. Best wishes to all of you for this joyous season and a happy new year!

Bear's Den Study; "the intensity with which they occur..."; Fernando Pessoa; Andrew Wyeth

Bear's Den Study

 oil on panel  12" x 14"

"Time is holding it's breath for an instant - and for an eternity. 

That's what I'm after - that's what I'm trying to paint."

Andrew Wyeth

"The value in things is not the time they last, 

but in the intensity with which they occur.

That is why there are unforgettable moments and unique people."

Fernando Pessoa

I suppose the most difficult thing about making paintings is settling in on a subject. I am sometimes overwhelmed by the intensity of so much visual richness in the natural world - to the point of a kind of painting paralysis. It is then I have to tell myself to back off, relax, and trust that there will be time - time for it all. Then I might focus of a moment of visual poetry - a single, precious moment I can attempt to capture in a flurry of brushes and knives and seeing and feeling. The craziest part is about two and one half hours or so must be condensed back to that moment. I love the process within the attempt - this is what sends me along to the next one. Enjoy!

Wavebreaker 4; Eugene Delacroix and the "austere ideas of beauty"

Wavebreaker 4

 oil on panel  11" x 14"

"It is not easy. It is never easy."

"It has to be worked at, and even then you never learn it. No one has any magic way of doing it. No one has anything except an over-mastering desire to do it."

Frank Benson, American Impressionist

"Nourish yourself with grand and austere ideas of beauty that feed the soul."

Eugene Delacroix

With all of Frank Benson's dire warnings I thought perhaps some of Delacroix's 'nourishment of grand ideas of beauty' might be called for. Benson is correct though, it is a constant struggle to attempt to get somewhere near one's original concept and at the same time, allow for the painting to change and develop as it is built. The key through all that, whether a single go over two or three hours or a day after day marathon, is to hold to the discipline of your initial vision. This is a combination of absolute holding to accurate seeing tempered by the poetic idea that first drew one to the subject. All the structural bones come out of the poetry. The vision allows for a chance to bring understanding or form out of the chaos of nature. The only possible way someone might attempt to paint say, a breaking wave, is to have an over-mastering desire to see if one can 

come close to it - in every sense.  Enjoy!

Tumbled Logs; The symbiosis between forest and painter; Neil Welliver

Stormfall, Tumbled Logs

 oil on panel  16" x 16"

"There is some kind of symbiosis between the forest and the person who's there."

"It's the whole business about the relationship between painting and that which you painted and what happens, and how much you impose on it and how much it imposes on you. Whether you change it or it changes you."

Neil Welliver

I don't paint scenes or scenery. Perhaps you've noticed this by the entries in the blog. I have nothing against them, as such, I just get bored easily when involved in that kind of painting. While the presence of beauty and especially, rural settings can be an enjoyable kind of nostalgia, I don't trust those yearnings or inspirations or what they tend to give me.

Every painter needs an edge or a visual problem to spur on a process and a progression in their work. A kind of unspoken reason to work. Welliver's quote here speaks directly to something I use as a spur - the flux between presence and imposition - the self and the subject. Coloring that battle is the desire to produce something that speaks to the passage of time and the presence of pictorial space. I have found that abandoning myself to the shapes and relative intensities of the subject, ignoring what they are supposed to be - resisting any sort of imitation or illustration - is the challenge and the purpose. This requires a leap of faith that whatever the result, in the end will somehow grab the poetic essence that attracted me at the outset. The inevitable disappointments must lead to the next effort!

So here is my latest effort along these lines. Enjoy!

River Glide; Ernest Hemingway; "Trying to make a picture of the whole world

River Glide

 oil on card  6" x 10"

River Glide 2 

 Oil on card  6" x 10"

"I am trying to make, before I get through. a picture of the whole world - or as much of it as I have seen.Boiling it down always, rather than spreading it thin."

Ernest Hemingway, 1933

Hemingway has pretty well summed up a primary task of any artist and any art form. 

This idea is related to the old saying about the world can be discovered in a grain of sand and essentially, this is true. Into this idea we must realize a painter is confronted every day with limitations, limitations unique to each one. These are with us as surely as fingerprints and can be a wall to get around or a tool for liberation. For me, some days it is the former and some days, good days, it is the latter. Over around forty years of this painting business I have come to terms with both kinds of days and their cumulative effect - a day spent trying to make a picture of the whole world, contained in a small corner, is a wondrous day no matter how smooth or rough. These two small works are originally images from an aluminum row boat on the Potomac River.

 I hope you enjoy them as much as I did making them.