Anyway, before starting, I pored over my cookbooks to find something to paint. Pretty quickly, I figured out some of my most classic cookbooks had too many ingredients to think about painting. Then I dropped my pretensions and went to the most used books on my shelf, Alice Waters’ Chez Panisse Fruit and Chez Panisse Vegetables. I love these books because the chapters are organized by the main fruit or vegetable component. They let me go to the market, pick what’s good, and then come home to cook it. The painting above is Roasted Fig and Quail Salad. We have great fig trees in our neighborhood, so I knew this one would be fun. Below are the figs I picked, the salad we enjoyed, and some details of the painting.
We’ve been working on some food paintings lately. Before we dove into the bigger ones we’re working on now, we tried a few two-ingredient studies. I’m looking forward to sharing the ones that came after these, but they’re still cooking.
Dave Plunkert and Joyce Hesselberth over at Spur Design have put together a great show for a good cause.
Here’s the info:
100 Heads for Haiti Saturday April 10, 2010 6-8:30pm Spur Gallery, 3504 Ash Street, Baltimore, MD 21211
WHAT: 100 HEADS FOR HAITI is an exhibition designed to raise money for Doctors Without Borders by selling original drawings, paintings and collages donated by invited artists. 100% of proceeds will be donated to Doctors Without Borders.
GOAL: $10,000 Original Art and a Group Poster print will be sold at the gallery, pieces will be sold on a first come, first serve basis. The remaining pieces & posters that do not sell at the gallery event will be available for purchase online for one month after the opening. Original Art: $100 (plus tax) Two piece maximum per customer. Group Poster: $50 (plus tax)
I thought I’d take a moment to follow up on my last post. I’ve been experimenting with ways to make patterns that keep the look and feel of our non pattern work. We usually prefer to push our elements out to the edge of the composition, allowing elements to be cropped off. In making these patterns, we’ve found that it’s much easier to contain each unit within it’s own rectangle. I’m still experimenting with ways of getting the expansive feel of our more full compositions. So far, I think the landscape in the last post was my best attempt.
With the batch I’m posting here, my goal was to more directly address the grid while coming up with something that still feels characteristically us.
Over the years, we’ve continued to draw upon repeats and from textile examples for various reasons. At some point we figured out that gender issues would be inherent in anything made together by a boy and a girl. I liked the way that, by using paint that referenced textiles, the issue was imbedded right there in the material.
We’ve cooled out on gallery shows in the last few years, but the last one we really threw ourselves into was at 222 Gallery. There I made a seemless screen print that covered a whole wall. I posted about it back then on Drawger. This got me interested in making some patterns that could actually be repeated on fabric. Kind of coming full circle from just looking at fabric to make paintings, we’re now making paintings that we’re envisioning as fabric.
Here’s some of them.
We’ve got a large batch, but I like these best so far. I’ll be posting more later.