Archive for the ‘ painting ’ Category

New Works, Eleven Images 2017

Sorry, but I am getting caught up here. The older works (and some of these while the were still in progress) are here: https://elevenimages.wordpress.com/2016/01/06/eleven-images-new-work-2016/

As always, if you’d like to inquire about the pieces here (or any other pieces on the site not marked NFS, of course) simple e-mail me at eaton.robertb@gmail.com.

Meanwhile, here’s what I have been up to since the first of the year:

A little more minimalist that what I generally do, but so far I like how this one has started, quite a lot.

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Untitled, oil and graphite on canvas 11″ x 14″, first sitting.

Second sitting:

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“It’s not that way, It’s over here” oil and graphite on canvas, 11″ x 14″ second sitting.

 

New works in progress. It’s been a while since I have done anything very large. A lot of my recent work been with 12″ x 12″ canvases, and 8″ x 12″. I decided I need to scale up, and I put three 16″ x 20″ canvas together for a total dimension of 20″ x 48″. Did the color blocking, and I have begun to move into building up the paint.

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“Untitled” oil and graphite on 3 x 16″ x 20″ canvas panels, first sitting.

 

This has been a slow practice in building color, at first glance, it may look like little has changed since the first image, but several more hours of building color have now gone into this one:

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Untitled, oil and graphite on canvas, 3 x 16″ x 20″, third sitting.

Spent some time on this one:

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Untitled, 3 x 16″ x 20″, oil and graphite on canvas, up close details

 

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shot 2, up close, details

 

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Untitled, 3 x 16″ x 20″ oil and graphite on canvas full image, second sitting.

 

This piece came together quickly, I will do a little cleaning the image up, but likely, it will be 90% done as of this image:

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“Aphasia (Blunt Force)” oil and graphite on canvas, 16″ x 20″ first sitting.

 

This piece may be done –I’m still deciding.

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Aphasia (blunt force) 16″ x 20″ oil and graphite on canvas second sitting.

 

Began color-blocking on a new piece:

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Untitled, oil and graphite on 2 12″ x 12″ canvas, color blocking.

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Untitled, first sitting, oil and graphite on 2 12″ x 12″ canvas.

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“She Has Constellations Within Her” oil and graphite on canvas on 2 x 12″ x 12″ canvas, second sitting.

 

 

New work, first sitting. A couple artist friends have suggested a very high-gloss varnish for this piece. As a result, I am probably going to clean up this image only slightly, –leaving the image mostly unchanged– and experiment with some varnishes. Stay tuned as I develop that process, I’ll be updating as this one is finished:

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“Don’t Let Your Light Go Out” graphite and oil on canvas, 8″ x 10″ (first sitting).

Working on new pieces this morning, this was the first sitting with this one.

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“In Cold Spirals”graphite and oil on canvas, 16″ x 20” color blocking.

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“In Cold Spirals” 16″ x 20″ graphite and oil on canvas.

 

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“In Cold Spirals” 16″ x 20″ oil and graphite on canvas, second sitting.

 

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“In Cold Spirals”(final) oil and graphite on canvas 16″ x 20” $165

 

Some of the first new pieces this year:

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“Not All Wolves,” graphite and oil on canvas, 10″ x 10″, second sitting.

 

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“Not All Wolves,” graphite and oil on canvas, 10″ x 10″  final. $85

 

This one is shaping up to be a recent personal favorite, it’s name however, remain elusive.

 

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Untitled, graphite and oil on canvas, 16″ x 20″ color blocking

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Untitled, graphite and oil on canvas, 16″ x 20 ” second sitting.

Nearing done, but I may still work on it some more. Right now it’s drying on my easel.

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“No one Who Wanders is Truly Alone”  16″ x 20″, graphite and oil on canvas, third sitting.

 

…and on the second easel:

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Untitled, graphite and oil on canvas, 10″ x 10″, second sitting.

Still working on this one:

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Untitled, 10″ x 10″ graphite and oil on canvas, third sitting.

 

This one goes to the done-pile (tweaked a bit, but here):

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“Bedhead” graphite and oil on canvas, 10″ x 10″ $65.

New Small Works, (Small Works Progress Administration) 2017

We’re already a couple weeks into the new year, I haven’t updated, but I have been busy.

I have started a new set of the Small Works Progress Administration (small paintings in acrylic and mixed media). That in the parenthesis there is something of a change in of itself: I discovered I really enjoy working in mixed media by doing a project for a friend. Previous series of small works had been in acrylic paint only, but this set includes acrylic paint, graphite, and marker, on gessoed cardboard. This new series will sell for $25 each. (dimensions are approximately 5″ x 9″, though these are hand-made items and their sizes vary)

The older small works can be seen here: http://wp.me/p2c9SR-bl

 

A couple new, enjoy:

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Bacteriophage, mixed media on cardboard, $25

 

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Combat boots, mixed media on cardboard, $25.

Putting newer stuff to the top now. I managed a few pieces this evening. I returned to images I have treated before in other places, some images come from cabinet photos, others are from my own 35mm photography of the area in which I live, and sometimes still life of random objects around my apartment:

 

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from cabinet photo, mixed media on cardboard $25

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still life of skull and small statuette, mixed media on cardboard $25

 

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Cabinet photo, mixed media on cardboard. $25

 

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Two versions of the same cabinet photo together, mixed media, $25.

 

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Entrance to St. Patrick’s Cathedral (Watervliet, N.Y. demolished) from on of my 35mm photos of the church. $25

Here are the first three of the new series, keep checking back as more will be going up soon.

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1868 Holy Bible, mixed media on gessoed cardboard

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Decorative Skull, mixed media on gessoed cardboard

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Polyhedron Die (D-20) mixed media on gessoed carboard $25

I have always been fascinated with skeleton keys. As an adult I have a small collection of them I buy in antique shops. Here are three studies of a couple keys I own, one is decorative, the other was bought at an antique shop.

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Skeleton Key (3 of 3) mixed media on gessoed cardboard. $25

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Skeleton Key (2 of 3) mixed media on gessoed cardboard $25

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Skeleton Key (1 of 3) mixed media on cardboard $25

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Skeleton Keys all three together on my easel. If someone wants to buy these as a set, I will sell them together at a discount.

Cultivating the Sketching Habit: Figure V2.0

Adding the images from our previous session. We meet and sketch and drink again, this October 24th.

Enjoy.

 

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Study, female figure, graphite on paper. (The note, right is a reminder for me to recreate this image in a series of works done in wet gesso and acrylic paint)

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Study, back, male, graphite on paper

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Study, female figure, Prismacolor marker

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two studies, female figure with lap-harp, right, study of arm and clasped hands.

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Dancing, interactive pose, graphite on paper

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Back, female, graphite on paper

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interactive pose, graphite on paper

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graphite on paper

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Interactive pose, Casein paint, on paper

Thanks to everyone who attended, and special thanks to the models. Let me know if/how you would like your attribution to appear here). It was a great night for me and a great first night for the event.

Also, I came away with a lot of useful studies and sketches which might serve as jumping off points for other works down the line.

Enjoy the sketches, and keep reading below.

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figure studies, female and male, standing graphite on paper

 

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Female standing, male seated, figure study, graphite on paper

 

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Figure studies, female and male, standing, back view, graphite on paper

 

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Male, standing, study with figure aids (was explaining a concept to a class attendee) pencil on paper.

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Study, female figure, kneeling, graphite and casein paint on paper

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Male figure,seated, graphite and Casein paint

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Male figure, standing, graphite and Casein paint on paper

 

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Interactive pose, figure study, graphite and Casein paint on paper.

[continued below]

As many of my readers know, I am getting geared up to start a sketch and sip event at a local club. Since I am the host, it’s not like I can let my sketching game get slack. Nope. It’s time to get to work and pick up some graphite and brushes.

I booked a room at the Albany Barn, and scheduled a session with model, J, who is going to be one of our figure models for the event.

Before I scheduled the session, I talked with my model and I wanted to have a theme or an idea to build the session around so I might then have some images to work into a later piece. I decided on a post apocalyptic theme, and borrowed a Kukri (a type of machete) from a friend.

One of the things that is challenging at first, to learn about drawing figure is you simply do not have time to work in great detail. The key here is make each image a study of gesture, –the shapes you see in the body, light and the pose of the body. The images here are presented out of the order in which I did them. I began with a few short (5 minute) poses in graphite, the sketches done in Molotow acrylic paint markers were slightly longer poses (10 minutes) and the poses in which I used a mixture of graphite and Casein paint were 15-20munte poses.

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Pose 1, graphite on paper, model -J

 

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Pose 2, graphite on paper, model -J

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Pose 3, Molotow acrylic marker (sadly, the marker, which is metallic and reflective, does not show up well in photographs)

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Pose 4, graphite on paper

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Pose 5, graphite on paper.

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Pose 6, Molotow Acrylic paint marker

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Pose 8, graphite and Casein paint

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Pose 9, graphite and Casein paint.

 

En Plein Air (open air) Painting

I have never considered myself a water-colorist, to me that was always my mother’s medium and she still owns the title family water-colorist –so far as I’m concerned. However, since the weather has been lovely as it has been, I have decided to do a series of watercolor paintings painted around Albany En plein air. Early in my teaching, I finally got past the fact I thought I wasn’t good in the medium. As I had to teach other people to use watercolor, I quickly taught myself and have greater comfort in the medium.`As the summer progresses I will probably do a lengthy series of watercolor.

Currently, I am intending to incorporate Eleven Images as a 501c (non-profit) in the very near term, and I also need a passport to begin traveling overseas. So, sales of this series will likely be used towards those purposes. I can ship these, and I accept paypal. though they would probably be most meaningful to someone with ties to the area.

Today, I was in Washington Park, on the west side of the lake there. The images are looking east over the lake. (all images watercolor on paper, 11″ x 14″)

I could sell these as a series (3, make offer), or $30 each.

 

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Sky, Washington Park

 

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Stones, Washington Park

 

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Lake and Trees, Washington Park

 

6/24/16: I returned to Washington Park today to paint a few more images. I think I will begin, next time, moving my easel around the city, and also, perhaps, into Troy and Schenectady. So if you happen to see me out and around, feel welcome to say hello and peek over my shoulder.

Enjoy

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“Washington Park Lake, Bridge” watercolor on paper 11″ x 14″

 

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Washington Park, flower beds, watercolor on paper, 11″ x 14″

Eleven Images: Featured Pieces of the Week

I decided to make a new feature for the art blog. Each week I will spot-light a different work that is for sale and not currently on exhibit. This summer and fall is shaping up to be pretty busy with exhibition. Also, with the Art on Eight show having come down, now, I am suddenly with a glut again of work back in my two-bedroom apartment. With that in mind, I will feature different pieces here each week. Some of these will be discounted from what I have asked when the works were on exhibit.

Currently, I am running sale on selected items. The small works (at this link: http://wp.me/p2c9SR-zF) are at their sale price ($20) with have off the second one if you buy 2.

Below are a selection of items on sale for the duration of the week.

Brand new, finished up over the weekend:

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Aphasia (blunt-force) oil and graphite on canvas, 16″ x 20″ $90

Some older featured works, –now at reduced prices for the duration of the sale. “Body at Rest” I love his little guy so much, and I’d like him to have a home.

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Body at Rest, oil on canvas, 10″ x 10″ $175

“Mother of Crows”

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“Mother of Crows” acrylic paint on canvas, 16″ x 20″ $70

“No One who Wanders is Truly Alone”

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No One who Wanders is Truly Alone, oil on canvas, 16″ x 20″ $150

Also, “Uneasy Chair.”

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“Uneasy Chair” oil on canvas, 10″ x 10″ $95

 

Keep checking back as I’ll be featuring different recent pieces in this space. There’s a few more if you scroll downward that are also on sale.

 

 

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“Do Hearts Find Jagged Edges?” 16″ x 20,” oil on canvas, $125.

 

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“No Lover Isn’t a Noose in Time” oil on canvas, 12″ x 12″ $65

 

 

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“Lullaby for a Castaway” 8″ x 10″ oil on canvas $55

 

 

Please email inquiries or offers to eaton.robert@gmail.com (see the about section for details). As I said earlier, I have a whole lot of work that has recently come back to me. The following works were all included in The Art on Eight show. The show was put on by the New York State Office of Mental Health to spotlight the art work of artists who receive services through the Office of Mental Health. (Some of the previous show have been included in OMH’s Art on Eight Flickr gallery.

 

Several of the small works together that were recently in the show.

Several of the small works together that were recently in the show.

You can see more close up shots of the works as you scroll down (all these works are framed –you will probably wish to use another frame, it was a temporary solution for display purposes) These works are all $25, use the contact information in the about section of this blog: The following pieces are all approximately 8′ x 10″.

Fedralsburg, acrylic on cardboard

Fedralsburg, acrylic on cardboard [sold]

Study (Manet) The Old Musician, acrylic on Cardboard

Study (Manet) The Old Musician, acrylic on Cardboard

Figure Study, colored pencil on paper

Figure Study, colored pencil on paper

Trinity Church, acrylic on cardboard

Trinity Church, acrylic on cardboard

Young Mother and Child, acrylic on cardboard

Young Mother and Child, acrylic on cardboard

Dread locked Cow-girl, acrylic on cardboard

Dread locked Cow-girl, acrylic on cardboard

Figure Study, charcoal on paper.

Figure Study, charcoal on paper.

Goings on With the Class: Visiting the Rockland Living Museum

First of all, many thanks to Julie at OMH for making this possible, by letting me hitch a ride. Secondly, thanks to Chris Randolph of the Rockland Living Museum for being so generous with her time.

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A sculpture made of found objects, it works as a wind chime. At the Rockland Living Museum

I didn’t teach my usual class today. I actually spent the day riding down to Rockland Psychiatric Center to view that hospital complex. Mostly, I am looking to see the Rockland Living Museum. The Living Museum at Creedmore has long been the act to follow in what I do. It’s my goal at CDPC to create a peer-run art therapy program that makes meaningful changes in the lives of the students in my classroom. Through a conversation with my contact for the Art on 8 gallery shows, I learned she makes frequent trips to Rockland Psychiatric Center. There’s a counterpart to Creedmore’s Living Museum there. So, at 8:30am this morning I was standing around the OMH Central Office on Holland Avenue, to catch a ride to Rockland Psychiatric Center.

My goal here was a simple one: to see what people at larger, long-running art therapy programs were doing and learn from that. Compared to CDPC which has a capacity of about 136 people in a single building, Rockland has a sprawling campus of buildings (many of which are abandoned). Post-deinstitutionalization, Rockland is a much smaller operation than when its reputation was much grimmer. I had heard about Rockland because of an innovative art program. A little searching around the web reveals the hospital was once considered a pretty bleak and hopeless place by many locals (its location is about 17 miles north of Manhattan). As I’m researching this blog about the history of Rockland, I quickly loose interest in the more salacious bits of its history. Grim suggestions of an overwrought staff and abused and neglected population dominates a lot of commentary from those who knew it or lived or worked there. I’m not looking for horror stories, not now, though I may read up on that later.

Lately, I am in the business of looking for answers to help even the sickest of Albany’s psychiatric patients recover and reintegrate into the community as much as possible. What I do, I do to get people well and empowering them to keep it that way. I have to believe people do recover and stay well, because I need to believe it for myself. Before I taught an art class at CDPC (as I remind the students in my classroom) I sat in the same chairs they are sitting in. Art therapies are a way to bring people out, and help them recover from severe and persistent mental illness. That’s what brings me to meet Chris Randolph today.

Chris Randolf is an art therapist. Her professional profile on a popular web site shows she once worked at a private facility in the same upstate New York county I was raised in, near a hospital where I was sometimes hospitalized, all in the city where I lived in a group home for 9 months. She’s the director of Rockland’s Living Museum, and over the phone she agrees to meet with me when I describe myself as the teacher of a peer-run art class. She does this a day before my arrival. She is even unfazed when my ride calls and asks her to meet me a couple hours ahead of when the Living Museum opens.

This serves as an outdoor sign for the Living Museum, part of a sculpture garden patients are rebuilding after it was damaged by a severe storm.

This serves as an outdoor sign for the Living Museum, part of a sculpture garden patients are rebuilding after it was damaged by a severe storm.

It’s far too warm for a day in October. I tend to be extraordinarily anxious in longer car rides. Mercifully, I get a stop at the rest stop mid-way. Lately especially, whenever I am in situations I can’t get up and move around I get stressed out. Nonetheless, since we arrive early, I am offered a breif tour of the whole facility before we park to sign in at the modern main building.

The main, modern building at Rockland, I find, reminds me in an unpleasant way of a building at Pilgrim State Hospital. This isn't the best picture to show that, but the similarity is there, and the psychological effect of the imposing building is the same.

The main, modern building at Rockland, I find, reminds me in an unpleasant way of a building at Pilgrim State Hospital. This isn’t the best picture to show that, but the similarity is there, and the psychological effect of the imposing building is the same.

Much of Rockland’s Campus is a series of ivy-covered, abandoned buildings. I am treated to the site of decaying structures bedecked in color, thanks to turning leaves. Here is one of those images, but I am intending most of that for another blog.

The buildings in the abandoned portions of Rockland's campus are still accessible. A walking path on the campus goes right along them.

The buildings in the abandoned portions of Rockland’s campus are still accessible. A walking path on the campus goes right along them.

My traveling companions sign in, and in a few minutes, Chris is on her way to pick me up to bring me across campus to Building 19, where the Living Museum anchors a large room of one side of the Recovery Center. We park in a small lot at the back, and Chris begins to show me the work that takes up her day from 1-4, when the Living Museum is open. She has the help of art therapy interns to work directly with the patients. Still, she seems to have a small anecdote for nearly every object outside. Aftr seeing the garden, we get into the actual studio in which the museum’s art is created, by residents of the hospital (many of whom are beginning to transition out of inpatient care).

The Living Museum has several areas which allow patients to work, and relax, listen to music or enjoy a cup of hot tea. Art by patients decorate the room throughout.

The Living Museum has several areas which allow patients to work, and relax, listen to music or enjoy a cup of hot tea. Art by patients decorates the room throughout.

The Rockland Living Museum was developed based on the pioneering Living Museum at Creedmore Hospital in Queens, NYC. The emphasis is on a peer-run program which uses art therapy to empower patients and assist recovery from mental illness. Under the direction of Dr. Janos Marton, a 2002 New York Times profile described the mission of the Living Museum as being a place of “refuge” where “over 800 men and women shed their identities as psychiatric patients and bloomed as artists.”

Patients simply come into the Living Museum space, and without lessons, or direction, they make art. That art has been widely exhibited. It is a series of paintings by patients at the Rockland Museum that piques my interest. At the Art on 8 exhibit (which I have my own work in, as do many of my CDPC students) a conversation about the work in the show from the Rockland Living Museum results in a plan for me to visit Rockland.

My own program is a nascent one. I have only just begun working in the hospital in April. I hear many complimentary statement from students. My class is something they look forward to all day and all week. I know I can make it more meaningful and powerful for my students. I know my story is compelling to them. I was sick on and off a long time. I got hospitalized, voluntarily or involuntarily, a lot. Now, I live in my own apartment and pay my bills. I haven’t needed a hospitalization in 4 years. I know it probably seems to my students that I know something they don’t. If there’s any truth to that at all, the thing I know is this: I need all of them as much as they need me.

That I am teaching again is important to me. Also, it matters that I am teaching people with whom I share a common struggle with chronic mental illness. Its my personal belief is that mentally ill people need to create a community of mutual support for each other. That’s why I do peer mentoring. I teach art because creating art has always been a large part of my own recovery and healing from mental illness. We as a community of psychiatric survivors, –we need to do it for ourselves.

Tables allow patients to work together, although some patents choose to work at stations around the room that are solitary. Great care seems to be taken to meet patient's needs and allow them to indulge their preferences.

Tables allow patients to work together, although some patents choose to work at stations around the room that are solitary. Great care seems to be taken to meet patient’s needs and allow them to indulge their preferences.

The underlying purpose of the Living Museum is to place art therapy, not as peripheral to people’s recovery, rather creative expression is vital to real and lasting recovery from mental illness. Art groups shouldn’t be in psychiatric hospitals to keep the mentally ill busy. The purpose of art therapy is to make people well. I believe this, of course, because it matches with my own experience. The historical connection between creativity and “madness” is long and widely studied. I’m a working visual artist, as well as a teacher. I know I do much better when I make creativity and expression my purpose.

Art adorns the whole room, and even the rafters. Many objects that become works of art are donated, including tables and chairs which are turned to objects of art. Chris states her goal is to get rid of all the furniture she feels is "institutional" in nature.

Art adorns the whole room, and even the rafters. Many objects that become works of art are donated, including tables and chairs which are turned to objects of art. Chris states her goal is to get rid of all the furniture she feels is “institutional” in nature.

After Chris picks me up at Rockland’s central building, I launch on a whirlwind tour of the Rockland Living Museum. We start with its garden. Chris explains that she has about a half-hour before some other responsibility she must attend to. In a short time I have seen a lot of things which inspire me, and leave me with a great number of ideas for my own work at CDPC. I also see the enormity of the task I’m trying to undertake.

Nearly every patient who takes part in the Living Museum contributes in some way to the beauty or the tending of this garden.

Nearly every patient who takes part in the Living Museum contributes in some way to the beauty or the tending of this garden.

The garden grows flowers, or herbs and vegetables intended for use in the food at the Big Rock Café. The cafe is a locus of food and conversation for many patients, and its walls also serve to exhibit work done by patients in the Living Museum.

In the Living Museum’s garden, some patients have taken plastic bottles and fashioned them as flowers decorated in vivid colors. Some patients have decorated the ground with painted stone tiles. Another has made small seats for rest or contemplation. Still others simply tend the garden and their contribution is watering the plants and weeding. It strikes me that Chris not only knows each person and their contribution to the garden, but she seems to have found a way to match each person to a way their skills and limitations still allow them to take a meaningful part.

For those of us in the peer/consumer movement, this is what’s known as a “strengths based approach.” The medical model of treatment focused on the deficits of a ill person. Medical professionals list symptoms, and address limitations. Throughout my time in the Rockland Living Museum, the focus remains on building and fostering the skills and abilities of people in treatment. Participants in the Living Museum direct their own projects. They choose their creative medium based on their already presents skills and interests. One man, Tommy, does most of the building in wood, a large section of the room is a dedicated space where he builds benches, chairs, stools and many other projects.

Tommy, who works in wood, has a dedicated space for his projects.

Tommy, who works in wood, has a dedicated space for his projects.

Most of the spaces for the museum’s artists are individual. The space is adapted to the artist and their interests and personalities. Some artists work is crafts or jewelry. The work is self directed, and flexible. Spaces have shelves of donated books, and a small radio for listening to music.

Other artist spaces include easels, shelves of books that are donated, even a handmade coat rack on which some artists have turned old canvases into lovely and unique purses.

Other artist spaces include easels, shelves of books that are donated, even a handmade coat rack on which some artists have turned old canvases into lovely and unique purses.

A lesson in resilience: a severe storm recently damaged an outdoor sculpture garden --composed mostly of driftwood. Patients are beginning to stack the wood, and rebuild the sculptures.

A lesson in resilience: a severe storm recently damaged an outdoor sculpture garden –composed mostly of driftwood. Patients are beginning to stack the wood, and rebuild the sculptures.

In the Living Museum, Chis leads me around from one project to another. Since the space is not yet open and no artists are present, she patiently answers all my questions about her work as director. She relates how the Living Museum started. At the beginning it was just her. Chris gives me many thoughtful recommendations for my own program. Much of the supplies, furniture and other projects are donated items, or carefully gleaned from sites like Craigslist and other free resources. The Living Museum is staffed, in part, by partnering with educational institutions nearby. But primarily, Chris stresses the need to create a program which eschews the traditional therapeutic model. Instead, she insists on a program which empowers patient autonomy and choice. This maxim underlies the program here.

This is of course, something I want for my own program. Changing a deeply entrenched institutional culture is a large task.

After I have seen the actual Living Museum itself, I briefly tour the larger Recovery Center –which constitutes the rest of Building 19. I see spaces that host group therapy, vocational training, computer access, music and performance space, and display space for some of the patient created wares from the Living Museum. I’m given an overview of the other programs. There is an all-day roster of groups available to patients (patients choose their own groups, and participate in creating new groups). I meet both hospital residents and peer mentors like myself. Chris eventually has a supervision to attend to, and I go to the café for lunch.

It’s in the café that The Recovery Center feels institutional to me for the first time. Though the food is fine, and the space is well decorated with the Living Museum’s art, several people mill about the cafe or in front of it in an idle and purposeless way. A couple of the cafés patrons approach me either wanting my coffee, or cigarettes. I talk to a couple of people there, and eventually leave to photograph the wooded, picturesque grounds. Much of the hospital’s campus is abandoned and overgrown. It makes a beautiful subject for my camera, since photographing abandoned buildings is a longstanding hobby of mine.

While I am walking the grounds, seeing all the wrecked former hospital buildings, it seems the hospital campus was abandoned in stages. Nearer the road, buildings are lost almost entirely in overgrowth, and as one gets closer to the center of campus and its modern buildings some of the older buildings are being returned to use. I am not sure, but it is likely that building 19 itself, where the Living Museum is housed, began the renaissance of the older buildings being renovated. It’s speculation on my part, but meaningful speculation.

That I was pestered for cigarettes, money, and coffee in the café reminds me that the needs of the mentally ill are great. People whose needs are being met aren’t listlessly sitting about looking for an opportunity to solicit something they don’t have or have enough of. Back at home, (my work at CDPC) there are a great number of people that need to be meaningfully engaged in addressing their own needs. Those needs may be educational, vocational, or –pertinently– creative expression.

There’s a lot of work to do.

.

New Small Works (late 2014-15)

                      [ALL SMALL WORKS CURRENTLY REDUCED, Inquire/make offer]

I decided to do another page of the Small Works Progress Administration. The other has a lot of work on it already and has fallen pretty far down the page as new posts have been added on the blog. These are all small studies I have done, on paper or cardboard, designed to be sold for $15 – $25. As an artist, I want people to think of original art as something that is available personally to them –not as something unaffordable that hangs in galleries or museums.

[…]

Adding a few of the images I created specifically for the Destroy Eleven show in Buffalo, NY. The first two images are of the center administrative building of the Richardson-Olmsted Complex, a former psychiatric hospital by a team of the 19th-century’s premier architects of large public buildings.

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Small works, “Richardson Complex 1″ approx 5″ x 9” acrylic on gessoed card-board $25

 

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Small Works, “Richardson Complex 2″ approx 5″ x 9”, acrylic on gessoed card-board.

The last new image is of one of my old film SLRs, my Canon Pellix 35mm camera.

 

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Canon Pellix 35mm Camera, approx 5″ x 9″, acrylic on gessoed card-board (sold)

Look for more, coming soon, I have a lot of ideas for these.

[…]

Added two more to the pile before running out of steam tonight. A study of a plastic skull, and a study of a gargoyle figurine I have in my house (sans tiara).

I am hoping to do a few more before the upcoming show, but I have stash available already. It’s an “if it happens” thing. But I will be selling these, and any more that get done tomorrow on Friday.

 

[…]

A couple more new:

“Rise,” approx 5″ x 9″, acrylic on gessoed cardboard

“If you’re not on a watch-list…” approx 5″ x 9″, acrylic on gessoed cardboard.

From Washington Park Flower Bed, approx 5

From Washington Park Flower Bed, approx 5″ x 9″ acrylic on gessoed cardboard

[…]

Gargoyle, study. Acrylic on gessoed cardboard, approx 7

Gargoyle, study. Acrylic on gessoed cardboard, approx 7″ x 9″

“Skull candy,” study acrylic on gessoed cardboard approx 5″ x 9″

second image of

second image of “skull candy”

[…]

Completed a couple of the small works while I’m waiting for my son’s mother to bring him over for a visit today. For whatever reason, I choose to stick to some Albany landmarks. (Two images follow)

Dr. Suess tree, Washington Park, Albany NY. Acrylic on gessoed cardboard, approx 5

Dr. Suess tree, Washington Park, Albany NY. Acrylic on gessoed cardboard, approx 5″ x 9″ $25

Livingston Ave train Trestle, Albany, NY. Acrylic on gessoed cardboard approx 5

Livingston Ave train Trestle, Albany, NY. Acrylic on gessoed cardboard approx 5″ x 9″ [sold]

There will probably be  few more to come, later this evening.

Update, 6/7/15

Warming up to paint today by doing a series of random things, my partner’s roses and basil plant, and an old endangered church in Hudson, NY, which is a favorite photographic subject of mine:

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Rose (1 of 2) approx 5″ by 8″ acrylic on cardboard (sold)

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Rose (2 of 2) aprox 5″ by 8″, acrylic on cardboard (sold)

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Basil (2 of 2) approx 5″ by 8″ acrylic on cardboard (sold)

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Basil (1 of 2) 5″ x 8″ (approx) acrylic paint on gessoed cardboard $25

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Presbyterian Church, Hudson, NY 5″ x 8″ approx, acrylic on gessoed cardboard

[…}

Update, 3/7/15

The first Edgar has already sold, but even before that happened, I had intended to do a series of Edgars. For those who don’t know me personally, Edgar is a foam-rubber Halloween decoration that has been prominently displayed in all my various apartments over many years. In this work, Edgar is re-imagined as the subject of propaganda art. Calling this “Wait for Your Glorious Future (Edgar II).”

“Wait for Your Glorious Future (Edgar II)” Acrylic on gessoed cardboard. $25

[…]

Today (13, October) wasn’t the most productive day at the easel, but at least I got myself working today. I started one larger piece (that I’m not ready to show progress on yet) and I did another small work for the Small Works Progress Administration.

This is just a simple image of a flower that came out of a bag of mixed seeds I got free with an online order.

If anybody is good at identifying flowers, let me know. I’m terribly bad at it these days (though I wasn’t always).

KODAK Digital Still Camera

Unidentified Flower, acrylic on cardboard, SOLD

[return to older post]

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Edgar 1, acrylic on card-board. 4″ x 7 1/2″ SOLD

I did one of the Edgars today (I will probably do several more, especially if people express interest. Plus, I find painting them fun and whimsical) If you don’t know Edgar’s story, I explain in the sketches blog (II).

Secondly, I did a very small image of a single wine glass:

Wine glass, 3

Wine glass, 3″x5″, acrylic on gessoed card board -SOLD-

Lastly, there’s an image of “The Peak House,” a (now demolished) farmhouse in Saratoga County that was near the home I grew up in. The image is based on a picture I took with a Pentax 35mm SLR I learned photography on as a teenager.

The Peak House, acrylic on card board, 5

The Peak House, acrylic on card board, 4″ x 8″ $20

[older]

The pieces shown here were done yesterday. While visiting with my son, I set up my easel near the park playground (Washington Park, in Albany, NY, where he usually plays). There are little color-studies of some of the stately old trees there, and a few subjects a little more whimsical.

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Washington Park tree, water color on paper. 7 1/2″ x 9 1/2″ approximate.$15

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Washington Park tree # 2, watercolor on paper. 7 1/2″ by 9 1/2″ approximate. $15

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Pencil on paper sketch of an espresso (demitasse) cup. From my sketch book. (make offer)

To see my original post about the NWPA, go here: https://elevenimages.wordpress.com/2013/10/24/the-small-works-progress-administration/

A couple more whimsical images:

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Child on bicycle, watercolor and pencil on paper, 8 1/2″ by 11″. $15

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“RAWR!” (children’s playground equipment) Washington Park, Albany NY. Watercolor on paper, 7 1/2″ by 9″ approximate. $15

If you are interested in any of the works shown there, or in any of the images following, please use the e-mail listed by clicking “about Eleven Images.”