Narrative Sixteen

Lucy had that way of looking both beautiful and tough that let me know that I would not be any good for her. At least not as promised by the end of countless movies.
I was looking for a hanger for my jacket as it deserved better than merely the back of a chair.
She was in the other room. I had said water would be fine but I swore that I heard the pa-pop of a cork being pulled, echoing the cadence too of a thousand French waiters hitting three fingers against puffed out cheeks and pursed lips in acknowledgment of their approval and that they will get on it right away.
Motion creates the illusion of accomplishment. Sharks are over achievers. Something caught the corner of my eye.
I had no idea where the light switch was and so decided to stand still and wait to see if it made its way into the strip of night sky that was spilling in through the ill placed window.

She came in holding two glasses. With a laugh:
“What are you doing?”
The light. A long centipede slowly crawled along the horizon line where floor meets wall.
It was all yellows and oranges with spots of molted black. There was a wet reddish piece of meat in its mouth which is managed to continue to carry.
I shuddered and rapidly slapped both my shoulders in confirmation that nothing was on me.
Lucy too was transfixed.
“I cant believe I used to smoke those things.”

W.Wolfson ’19

 

5×4 Quick sketch

 

20190121_122729

Sky Bed

I capture what I am seeing in my work. It always gives me great pleasure, whether a series of quick sketches in my pocket pad or more fully realized works.

In Vancouver recently, I stayed way above the streets with a breath taking view of both the neon streams of the street but also to the left of me the port of Vancouver and the mountains behind it.

This is the view from my bed, a sort of urban impressionism. Colored pencils 9×12 colored paper.

 

 

skybed

‘Nita

Emotion is a truth which is always beautiful.

Collecting art has become rarefied. Where as formerly passion and an eye (personal sense of aesthetics) were the main & most important prerequisites, they have been supplanted by space and money.

The size of my works is intentional. I have in mind new collectors for whom space is at a premium. Apartment dwellers should not feel it an impossibility to start a collection.
I also have in mind burgeoning collectors who are just starting to delve into the myriad genres of art out there. A large piece starts to dictate what directions a collection will go in for people living in normal sized spaces. Smaller works do not create a visual limitation.
I want the collector to live with my works and not (feel as if) under them which may occur in apartments.

Always is the striving for emotion to come across in my work(s) and this size bolsters it by almost creating a senses that one is witnessing a scene, the viewer as a voyeur.

” ‘Nita” 9×12 Watercolor & Cotton Paper (1st painting of ’19)

neets

Black & Orange Can

Lopsided grin not visible but the splashing of the water did not drown out the song that she sang to herself. The traffic, one driver in anger or celebration leans on his horn and through the closed door could almost be Fats Navarro taking a chorus. W.Wolfson

 

Last Painting of ’18 9×12 Watercolor & Multi Media Paper

 

caro diario

Hustle & bustle of commissions plus holiday social commitments. In lieu of proper blog post here are some recent quick guerilla sketch things from my ever present pocket pad.

3×5

 

Reds

We all carry in our heads the idea of ourselves, the self image. Desires and faults which we try to keep close to the vest aside, a componant to the truth lay outside of ourselves.

This is why often no one thinks their recorded voice sounds like them, as they think it is. The same goes for images. If the pose is not one set up as the subject imagines to be ideal, then it often seems “off” as it’s not inline with the self image.

I prefer to not work with professional models as the poses that they have worked so hard to learn have an artificiality to them which freeze dries the emotions which are the raison d’etre for all my work.

Often, I use same people over course of many pieces and years. As our history grows, a sense of trust develops. They know that, whether they like how some aspect of their visage is portrayed, it is the truth and the truth, an honesty, is always beautiful.

The trust allows for natural body language which helps facilitate emotions.

For this piece, I wanted a delicacy but also the sense of blood rushing and hot just below the skin.

This is only my third painting in my new studio. I was very pleased with results.

“Reds” 5.5×8.5 watercolor and paper

 

Reds