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July 12, 2015

Title:          Mudd Pi

Medium:     oil on copper gilt cracked plaster on panel

Price:          $250.00

Size:            12″X24″

Artist:            Blake Wilkinson

just trying something new

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July 12, 2015

Title:      Time After Time

Size:      18″X24″

Medium: oil on copper gilt cracked plaster on panel

Price:      $350.00

Artist:       Blake Wilkinson

Time is an illusion…

July 1, 2015

Title       Lake Marie

Size:       18″ X 24″

Medium:  Acrylic on Canvas

Price:       NOT FOR SALE

Artist:        Blake Wilkinson

Landscape art is a stretch for me, i am more comfortable with abstract and loose form, or sculpture in plasticine.  But my mother asked me to paint a landscape on canvas for her, so  i did. And i found out that i can. I will be painting more of these.

Emergence

January 20, 2010

TITLE: Emergence

MEDIUM: Cloth and Plaster on plywood

PRICE:  SOLD

SIZE: 79″h x 46″w x 17″d

ARTIST: K Hawkom Thomas

This particular piece was sold before the show opened. But neither the buyer nor I liked it on first glance. (for me it was because I didn’t want to deal with hanging it). After it was in its place on the wall Larry Cole and I were looking at it and i mentioned that it had taken on a rather inspirational quality for me. That I could see how it could symbolize humanity rising up from the primordial ooze of creation, or perhaps some form of baptism. All of a sudden Larry was buying it. (It’s down now awaiting packing and transport to the show in Texas, or to Larry’s home, I am unsure).  When I consider the work that went into this piece, not only the planning, and labor of the artist, but the sacrifice of time and comfort of the model who allowed herself to be covered in a sheet and molding plaster to be poured over her entire body, and the discomfort of breathing through a tube and the discomfort of the heat generated by the plaster setting, i am in awe of this piece. I doff my hat and bow to the lady that could stay still in that environment until the plaster set.

ART/FAITH

January 18, 2010

TITLE: Hold

MEDIUM: Oil on tulle on panel

SIZE: 97″ x 48″

PRICE: $3,000.00

ARTIST: Shannon White

This one is difficult to write about. Perhaps because Shannon is in the same age group as my daughters. Perhaps because she and her husband are friends of mine and i witnessed first hand some of the trial they experienced through Caden’s cancer and ultimate passing. As part of her prayer process she sketched the draft for the painting last year. As part of her grieving process she painted the picture. It is one of many works of art that she and Darin created (and are creating) in “The Healing Series”.

In this particular piece there is much spiritual symbolism. The heart in the upper right has a veil of tulle covering it bringing to mind the veil of the Temple that was “rent in twain” the instant Christ on the cross gave up the ghost. There is atleast one scripture that describes the human heart as veiled and nearly unknowable. The true reason she placed the veil over the heart is because the rules of the show are that all the creations must be white or mostly white, but the symbology behind placing a veil over the heart is a confession and a prayer. A confession of the veiled anger which is very much a part of the grieving process. A confession of not understanding that anger, or “WHY?” and a prayer of a grief asking for understanding and wholeness and healing. And none of those things are an event as much as they are a process.  Another symbol I see in this piece is the vertical “dripping” appearance of the vertical formation in the painting. In her discussion with Samuel Kho, she said that it needed some vertical accentuation and nothing more. It is difficult for an artist to put into words WHY we do things the way we do them sometimes. The symbology I see here is not only a symbol of weeping and tremendous sorrow, as tears flowing to the lake below, but also as prayers, flowing upward to God in Heaven and God’s comfort flowing down-to-her-ward and surrounding and embracing her in her grief. Finally the water covering her feet: in Jewish/Christian tradition there is the washing of the feet which in scripture represents the cleansing or refreshing of one’s walk. in a word–repentance–which is change, which requires a paradigm shift, a change in understanding and thinking. To come to the understanding that our children are not our own, that they are here on loan from God is a tremendous step. To understand the words that Christ meant when he said, “and he whosoever he be of you, that forsaketh not all that he hath, he cannot be my deciple”…  I like the words in another book “Knight in Rusty Armor”, at the end of the story the main character is clinging to the side of a high precipice and sees the inscription in the wall: “Though this universe I own, I posses not a thing, for I cannot know the unknown if to the known I cling”. To be truly free we must be willing to let go of everything that we know, believe and understand.

Art and artistic expression has been a part of mankind since the beginning, it is referred to in nearly every religion, and practiced in some way in nearly every religion. Art is an expression of faith, as well as a prayer as well as a praise… as well as meditation. The book says we are created in God’s image, part of that image is the ability and need to create art. We are God’s children, and that was brought home to me about 4 or 5 years ago when Shannon was making a portrait of me in pastel and I observed her sketching and drawing it out and ultimately finishing it. What I saw in that time was not Shannon White the adult, the mother… I saw Shannon the child come out to play with her colors. There is a very child like quality to the artist at work. And that is as it ought to be, after all we are God’s children.

RANDOM THOUGHTS

January 16, 2010

TITLE: Paradigm

SIZE: 48″ x 48″

MEDIUM: copper gilt gypsum; 2 step patina; artist oil; on panel

PRICE: $2,501.00

ARTIST: Blake Wilkinson

If i were a proper writer I’d write about the closing reception of the White Show and Samuel Kho’s thought provoking and interesting presentation. He talked about food and fine art. His presentation brought to light and language things that most artists probably already know intuitively such as how it is that cooking and the creation of meals is in fact art. Something I already knew, kind of. When I was 16 I got a job in a restaurant as kitchen help which is mostly dishwasher and general gofer. The owner had managed to hire a true european trained chef, (neat trick in Laramie Wyoming) every meal he served was a presentation. I once commented that his meals really shouldn’t be eaten, they should be hung on a gallery wall. George said that is how it is supposed to be, that dining is intended to be an experience not only for the olfactory senses, but visual as well. As with food, tastes vary for visual art. But I am not a proper writer, so i won’t in this post, write about the similarities of visual art and food.

After Mr. Kho’s presentation, and since he was the juror of the show, there was a discussion between artists and himself about why he picked their particular piece, and the artist was encouraged to share the inspiration and methodology of their creative endeavor. Methinks that I’ll write about Shannon White’s work in a later blog, because there is much to write. Besides for me the piece is heart rending and I don’t feel like crying tonight. Add to that: I don’t have a picture of it to present just yet, tomorrow I plan to help photograph each piece of the show before it is taken down and moved. So I hope to get an image and permission to use it then.

So I’ll write a few words about inspiration. What inspired me to create that particular piece? Truth be known: I was bored and wanted to just play around with textures and papers and processes and see what it looked like gilt with copper and etched with solutions. The piece in the show was originally aged copper leaf, umber and green. When Darin said my submission had to be white or mostly white, i thought of finishing another piece and gilding it in silver and doing a whitewash over it, but that turned into too daunting of a task because that piece begs to be copper not silver, and with greens, umber, ambers and coppers. So i snagged the one I called Tinman’s Laurels, and i changed it to Tinman’s Laurels in White by gilding it with composition silver (aluminum leaf) and painting it, then burnishing the paint back. I do pieces like that because my career consists of painting walls and buildings. Creating “faux” finishes is very much a part of what I do so I incorporate that into my artwork. So much for high inspiration and hoity-toit “what is the artist trying to express” (or “just what the hell was he thinking?” when he did this mess). Though much of my work is out of spiritual expression the Tinman series really is mostly experimentation and learning. That people like it isn’t an accident either, people like the special finishes I create, so I kind of figured I was on to something when I started that series.

The dragons… I’m not sure I have the ability to put into words the reason I gild dragons. Perhaps being a derelict  drunk living under a bridge has something to do with it. On one particularly cold winer night in Denver, (must have been around ’81 or -2), I was wondering the streets with nowhere to go and nothing to drink when I came across a large cardboard box behind a furniture store. I crawled inside it to get out of the wind and snow and discovered some candles, so i lit them for warmth (surprisingly it actually warmed the place up a bit). I couldn’t sleep because i hadn’t drank enough to pass out, and because of that the dragons came to visit and talk with me. Yes, that’s crazy… my life was a huge trainwreck and I was crazy. Alcoholism is crazy. And alcoholics are crazy. Anyway I have a propensity to feature dragons in my art. God knows I’ve seen (and talked to) a few.

OF GASBAGS AND TELEVANGELISTS

January 14, 2010

I miss the days of my youth, when I was so cocksure of myself and I was so saved and christianized that I could pass arbitrary judgement on those around me and the rest of the world. And I could rationalize it all by quoting Bible scripture to support my many and wise and righteous views…if only the rest of the world would agree with me then all would be saved.  Something happened to me since those days of my child hood and early adult hood…I grew up (you might try that Pat, it isn’t as bad as it’s cracked up to be). So the powerful and majestic televangelist Pat Robertson said that the earthquake in Haiti was because God was finally getting around to getting them for making a pact with the devil some 200 years ago. yea god. you go get ’em god. rah rah sis-boom-bahhhhhh humbug. Now he’s backpedaling and saying he thought it was Hades that got all shook up… oh come on Pat, even I could do better when I was a homeless drunk talking to dragons in a cardboard box during those cold colorado winter nights. Hades was never ruled by the French (now THAT is an IMAGE!) And the denizens thereof didn’t revolt against the French. (There is yet another image). Besides, Hades, if it even exists at all, isn’t a place subject to earthquakes seeing as how it is not of this earth. Grow up rev. own your screw-ups, admit you don’t know as much as you want the rest of the world to think you do. Quit lying. Drop the facade. Everyone wants to call fire down from the heavens like Ezekiel did,  but no body wants to live in a cave in the wilderness.

The Book says: “…we rejoice in tribulation, knowing tribulation worketh patience, and patience experience, and experience hope, and hope maketh not ashamed for the love of God which is shed abroad in our hearts by the Holy Ghost which is given to us…” I’ll let you get out your own concordance and Bible and look it up for yourself.  Earthquakes, terrorist attacks, tornados, hurricanes, the passing of loved ones, and all the calamities that befall us do in some way work wisdom, grace and compassion into our hearts and being if we let it. We are not to judge calamity, nor are we to run from it. And i’m not foolish enough to say that we ought to like it. But a wise man once advised me that there is no avoiding calamity and that I ought embrace it and be grateful for it, for it would pass. See, that’s another thing about this world. Everything passes.  Says so right in the Bible, you can’t hardly turn a page where somewhere on that page it says “and it came to pass” no where does it say “and it came to stay”…it’s always passing. and calamity will pass, perhaps not soon enough, but it will pass.

IMAGE TITLE: Phoenix 9/11

Medium: coppergilt gypsum on masonite panel, oil

Price: NFS

Artist: BLAKE WILKINSON