of the Jim Lane Collection
THE TRADITIONAL STILL LIFE
Minimally framed....................................................................$195.
Framed in gold faux-damask......................................................$350.
THE TOTALLY NON-TRADITIONAL STILL LIFE PUSHING THE LIMITS
Final Nesting Place
(28"x30" on plywood panel) Often the most common of subjects make the most UNcommon art. As is often the case, one day last fall, I found myself needing to finish up a roll of film in order to get it processed. I was shooting all manner of things when I stumbled upon a fallen bird's nest in the yard, nestled amongst some leaves. Naturally (very naturally in fact) I decided to shoot it. I didn't move either it or the leaves in any way. I position myself directly over it and shot straight down. That was the last I even thought about it until the pictures came back and I realized what a little treasure I had. In keeping with my recent exploration of the real and the illusionary, I once more allowed portions of the composition to escape the frame. Going beyond that, I also have added a number of real leaves to the surface of the painting. I am experimenting as to the quantity and placement of these real leaves, which, though not archival, are so plentiful that they need not be. They are mounted simply with a tiny loop of masking tape on the back. They seem to add an extra element of drama and surprise to the work, not only "fooling the eye" but fooling the BRAIN as well, at least momentarily.
Click here for a closeup of the original still-life
Ahhh, Isn't That Sweet© (18"X24", acrylic on stretched canvas) I've always been fascinated by still lifes. However the risk always exists for them to be mundane. Both in terms of presentation and subject matter, they have been "done to death". The creative painter has to search hard for "new" subjects and new ways of presenting them. I present this work first as a point of departure, illustrating both traditional, (side view) presentation, and a more or less traditional subject (jars and bottles).
Framed in oak..................................................................................$195.
THE SOMEWHAT LESS TRADITIONAL STILL LIFE--
Jazz © (20"x30" Acrylic on stretched canvas) Though the presentation is still the traditional side view, the subject is much less traditional, and exists in an amorphic space evoking a wild, musical environment. Shiny objects and fool-the-eye realism has always held a special interest for me. I make no appologies for trying to "dazzle" the viewer with style, technique, and the complexity of the subject matter. To stand out in the painting world today, one must not be afraid to tackle that which might intimidate other artists.
NOT QUITE TRADITIONAL
50,000 Miles© (16"x20" acrylic on stretched canvas) The subject is a little unusual, the angle is from above, the treatment is fresh, informal, hardly what one would consider "pretty" in the classical still life sense. Still life painting can be "fun" and yet be taken seriously.
Framed in heavy oak.............................................................$225.
TRADITIONAL SUBJECT, NON-TRADITIONAL PRESENTATION
Penny Bazaar© (32"x32" acrylic on stretched canvas) Unlike the traditional side view presentations seen above, this work is viewed very nearly from straight up above. The objects are fairly traditional, nostalgic, interesting, yet they are commercially packaged consumer products of a bygone era arranged on a backdrop of period advertising materials.
Shell Shock © (20"x26" acrylic on stretched canvas) Like the previous work, the angle is straight down from above. The work is framed in rough lumber (crate-like) and can be hung in any of four different directions. It has even been displayed in a gallery setting on the floor, on a low riser, face up. The subject matter is about as non-traditional as it gets and I find the work tends to have an appeal on two levels--as exciting, even surprising subject matter, and on an abstract compositional level, wherein the subject matter becomes secondary to the overall effect of the shape/color repetition. Those who know little about art are fascinated by the audacity of the subject matter while those who have a broader understanding of things artistic, enjoy it on a more esoteric level.
Framed in rough lumber..............................................................$595.
To Err is Human© (36"x48" acrylic on stretched canvas) Though not as "flashy" as the previous work, this was an attempt to go a step further, in scale, if nothing else. On the theory that "more is better" and the hope that the mundane will not be mundane if presented in sufficient quantity as to startle the viewer somewhat, the movement from realism toward abstraction is much more evident here minus the exciting, sexy shininess of Shell Shock. The eye and the intellect quickly tires of the shapes and moves into the coloristic and compositional components of the work, leading the artist and non-artist alike to contemplate these elements almost without realizing it.
Thinly framed...........................................................................$595.
framed in rough white oak.............................$950.
Memories in Bits and Pieces
I call this an icon painting. It's really a still-life of a still-life. On the left is a small 9"x14" x 2 3/4" (deep) shadow box framed in gold. To the right, attached and framed identically, is the still-life painted twice as large, 18"x28" (not counting the descending drape). It brings to mind the old TV commercial, "Is it real or is it Memorex?" Here it's both. Traditionally, one of the blessings enjoyed by still-life painters is that once the painting is exhibited, no one can contest any discrepencies between the original, and the artist's version. Here I've denied myself that advantage, attaching for everyone to see the original inspiration and resource, breaking free from the tradition in which the artist places himself, between the original and the copy. The coupling together of the two is not without it's pitfalls. When exhibited, the light qualities and angle on the real still-life is never the same as when it was painted. Also the point of view of the painting is "frozen, while that of the 3-D arrangement changed along with that of the viewer. It has been an interesting experiment. I have thoughts of doing a similar icon painting in which the still-life arrangement is larger and more open while the painting is rendered the same size as the arrangement.
26"x44" on Masonite, framed in gold wood....................$1,500.
Dieting Art
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Before © (10"x11") acrylic on Masonite) Not long ago, during my annual physical, my blood sugar level tested high. As a result, my doctor put me on a 1,500 calorie per day diet. This meant we had a whole cupboard full of snacks and sweets that were now off limits. On the theory that when life gives you a lemon, you make lemonade (though in my case it would have to be the artificially sweetened variety), I decided to put all my favorite snack foods into a still-life. It was also a good opportunity for me to pursue my penchant for bridging the gap between illusion and reality. Some of the items in the still-life are painted flat on the panel. Others are fabricated. One is the real thing. And no, I didn't EAT any part of my still-life while I was painting it - or after it was finished.
Framed in black . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$295.
After © (12"x14") acrylic on Masonite) And this is where my diet has led me. It's slightly larger than its companion piece (above) but the calories are about the same. It's not that I dislike any of the foods above (well, maybe the skimmed milk), but I so miss the JUNK food. I was a little more ambitious in terms of "breaking the frame" here than above. The items in the foreground are archival versions of the real thing which, in the case of the potato and the tomato, actually break out AROUND the frame. Though, like their real life counterparts, these fake foods are "store bought;" they do look good enough to eat...especially when I'm STARVING!
Framed in black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$395.
Over the Bar
As indicated by the title, this is the scene "over the bar" in our family room, just outside the door to my studio. The effort came about as the result of my search for something to shoot in finishing off a roll of film. I had no great intention of painting it when I shot the photography. In getting the pictures back, I pieced together several close shots of the vertical still-life and recognized an interesting phenomena--a highly detailed realistic scene with many abstract elements. I was intrigued. As with many such works of glass, transparency, and complex reflections I've done in the past, the drawing was probably the most challenging element of the whole thing. It was the first time I'd ever painted so MANY pieces of crystal and the first time I'd ever been involved with mirrors as well. The mirrored tile forming the background were quite unique. Purchased at a local discount store in the 1970s, they're probably irreplacable now, some 20 years later. The red veining was both challenging and fun. The glass shelves also added and extra degree of difficulty. Originally, I expected the work to appear quite abstract up close and only "come together" at a distance. In fact, just the opposite occurred. It's only when one approaches within a few feet of the work that it's completely apparent what subject the painting is.
28"x30" stretched canvas framed in black formica....................$995.
Seafood Buffet © (20"x30" stretched canvas) If you like seafood, you're sure to love this refreshing, cool, clean, marine menu. If not, it's just dead fish. Though the subject is strikingly different and contemporary, the presentation is much more in the traditional, style. The dramatic lighting and the high point of view tend toward the non-traditional even though there is little here to suggest any abstract qualities.
Framed in thin moulding with faux chrome.......................$295.
Western Amber © (16"x20" acrylic on stretched canvas) This is what one might call a "macho" still-life. It's even framed in thick, rough-cut cedar. There's nothing elegant about this one. It'd make something good to hang in the ole bunkhouse. I think what I like best about it is the overall tonal quality of the painting. Still-lifes should evoke a particular ambience, depending upon their content, and I think this one does. The only problem is, with its "ambience" it might look best in the barn!
Framed in rough cedar........................................................$275.
756 Reasons to see the dentist © (20"X24" stretched canvas) Another of the non-traditional still-lifes similiar to those out front on the main page. This one was a special joy to paint. I could eat a piece, paint a piece, eat a piece, paint a piece...
Thinly framed.............................................................$195.
Class Glass III© (24"x24" acrylic on stretched canvas) I've always been fascinated by the abstract qualities evident in some of the more complex areas of still-lifes, especially those involving shiney or transparent objects. Cut glass is especially rich in such faceted intricacies. As the title suggests, this is the third in a continuing series, but the first exploring both the delicately graceful shapes of stemware and its light-distorting qualities. Earlier paintings in this series dealt with wine decanters.
Framed in brass.....................................................................$325.
Hers © (20"x26" stretched canvas) This perhaps should have been included with the non-traditional still-lifes down in the main gallery, but since it's been around a bit longer than those, it's been consigned to the attic for safe keeping. I've always liked the colors and composition here. The old bikes always seem to me to have so much more character than the sleek high-tech contraptions of today.
Framed in white moulding....................SOLD....................$900.
Nautical Stuff© (20"x26" acrylic on stretched canvas) Even though I'm not a sailor, I love the sea, provided the cruise ship is big enough and has room service. There was such a rich textural element in this painting, ranging from the roughness of the coiled rope...oops, line...to the shiney smoothness of the wheel I just couldn't resist tackling it. The top-down vantage point puts in the category of what I call the non-traditional still-life in spite of its very traditional subject matter.
Framed in oak.....................................................................$295
Petals© (20"x30" acrylic on stretched canvas) In the same vein as the non-traditional still-lifes I like to paint, I guess you could consider this a non-traditonal floral. The fact is, it's about the only floral painting I've ever done. It's sort of "in-your-face" roses, which is the best way to smell them I guess. These are flowers you just can't ignore. Yet strangely enough, it seems at art shows to be a rather "under-appreciated" piece for some reason. I've entered it in a number of competitions too, and juries seem not to care much for it either. They tend to go for the more earthy stuff. I guess maybe it's just a little too elegant.
Framed in Brass.........................................................................$495.
Shafts of Color© (18"x24" acrylic on stretched canvas) These are the tools of my trade. In fact, I almost named it that. Painted in the Spring of 1998, the various compositional elements give it a somewhat abstract "look" despite its realism. I love paintings that have such qualities. It's one of the wonderful things still-lifes often offer that portraits and landscapes usually don't.
Thinly framed..........................................................................$275.
Tantalizing© (20"x30" acrylic on stretched canvas) Perhaps a better title might have been "The Party's Just Begun". This still life was actually created on a "morning after" so to speak. It was set up on our kitchen counter and photographed with existing light from a number of different angles and arrangments. It was one of the most satisfying still-lifes I've ever done. It's hung in our dining room now for about 20 years. Needless to say, it's always been one of my favorites.
Framed in gold leaf.............................................................$695.
The Works© (24"x36" acrylic on stretched canvas) Of all the still-lifes I've ever painted, this is probably the most unique. I've often enlarged objects in painting them, but never quite to the degree they were here. It's a picture I think works on both a realistic and an abstract basis in that only a watchmaker could appreciate its accuracy while the rest of us merely view it as an arrangement of parts, shapes, space, and lines, which are the elemental units of composing any work of art.
Thinly framed.........................................................................$695.
Where Have All the Children Gone?© (16"x20" acrylic on stretched canvas) Bringing to mind the 1960s ballad, these two tricycles met us one morning as we returned to our display at an art show. Apparently brought by another exhibitor for their children, they seemed very lonely looking, as if wondering to one another when their masters might return.
Framed in Oak........................................................................$195.
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