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New Works/Works in Progress, Eleven Images, 2018

With about twenty recent works currently on display locally at the Savoy Taproom in Albany, and another show currently being planned a bit away, 2018 is starting off with a lot of good reasons for me to be at my easel today.

As always, older work can be seen at the link:


Color-blocking on two new pieces:


Double-Helix, color blocking, oil and graphite on canvas 12″ x 24″, first sitting. 

artist’s note: I chose to do a treatment of the double-helix structure of DNA, because it represented a certain challenge –because there’s a certainly difficulty, for me, to do a work of something that’s a commonly produced image, and one I associate strongly with another artist.

We’ll see what happens as the piece develops.

And on the second easel:


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


Started a second new work. I am working in a limited color palette designed for a particular space I may have the opportunity to show work at, –loosely this is a series of oil paintings meant to be shown together. (the other I have started begins a couple images down).


New work, color blocking, oil and graphite 11″ x 14″



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



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


Did some work on this last night, I’m not sure it’s totally done, but is certainly nearly there:


Untitled, oil and graphite on Canvas, 11″ x 14″ third siting.


“Some Streets to be Lost On,” oil and graphite, 11″ x 14″ $175


As a couple housekeeping items, this work is finished:


“A Bloom Where you Are Planted, A Bloom Where You Lie” oil and graphite on canvas, 20″ x 24″ $300



And this piece needs a chain to suspend them together.


“Time is the Architect of Ruins” oil and graphite on canvas,  2 x 22″ x 14″ canvas, needs chain.


And now this one is ready for sale/exhibit:


“Time is the Architect of Ruins” oil and graphite on canvas 2 x 11″ x 14″ canvas, total dimensions 14″ x 31.5″, affixed by chain, final $425



“Time is the Architect of Ruins” oil and graphite on canvas 2 x 11″ x 14″ canvas, affixed by chain, final $425



And, now, with all the current commissions finished (one is yet to be delivered, but I thank the buyer for their patience) now it is time to move forward on 2018 work.

The first fully 2018 piece of 2018:


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



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



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


Did some development on this one yesterday:


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



“The Machining of Greenery” oil and graphite on canvas, 16″ x 20″ $225


As always, message me at eaton.robertb@gmail to inquire about individual works. Payment plans are always available –with a 25% deposit (non-refundable). Payment via pay-pal.


Monster-building (Eleven Monsters)

Making this post for people who may not be able to attend. I’m very pleased to have two of my masks (both of them, brand new never-before-seen works, exhibited at tonight’s “Behind The Mask” event, May 12, 2017) at the Albany Barn. I began using plaster and wire to build elaborate decorative masks some years ago, and the event was an exciting opportunity.

These past couple years I have become active as a Certified Peer Specialist, and this is not the first time my work as an artist has overlapped my personal experience as well as my work in the field of mental health as a peer. I knew pretty quickly the idea I was going to develop for these to masks –but more on that later.

I began with some concept sketches.


Hymn/the 400, concept sketch, acrylic on gessoed paper



Concept sketch, Hymn/the 400, in charcoal on paper. Sometimes when Hymn appears, his limbs are distorted, or in this case truncated.


The Nails, concept sketch, charcoal on paper.



Hymn/the 400 charcoal and acrylic paint on gessoed paper.


The Nails, charcoal and acrylic paint on gessoed paper.

After several renderings of each idea, I had a pretty good idea of the direction I was going. After that I began to twist wire, like so:

Making Monsters 3

Wire armature, “Hymn/the 400”

The cloth and plaster makes building a mask in this style somewhat hard to wear, as they are extraordinarily heavy. The armatures for these had to be constructed thoughtfully to distribute the mask’s weight, and anchor the plaster to a frame.

The armature for “The Nails” ended up much more intricate and heavier. The extra wire was needed to support a large lower jaw full of carpentry nails.  I twisted and cut the wire to build the masks in several sessions over 2 days –then it was on to plastering:


Boxes of plaster, and an assortment of tools.


A pile of cloth strips, seen here with one of the concept drawings for “Hymn”

After stretching the cloth over each frame, the cloth was then coated with another layer of plaster (using a painting brush). The masks then were allowed to dry over twenty-four hours, sanded, and finally painted


Starting the process of painting.

The painting took two separate sessions, the paint was allowed to dry between sessions. Finally, a layer of high-gloss poly/epoxy was added to make the finishing touch.


Finally, our two masks:



Making Monsters 2

“The Nails” decorative mask, wire, plaster, cloth, nails and oil paint. ($600).



“Hymn/the 400” Decorative mask. Wire, cloth, plaster, and oil paint. ($750).



Hymn/the 400, side view.


For purposes of explanation, I am including my artist’s explanation, as it will appear tonight at the gallery:

“Most of us live with monsters. Most of us live with nagging voices of self-doubt and critique in our heads. For some people, these interior monologues become recognized as entities separate from the person experiencing them.  They take on personalities, affect, and motivation separate from the individual. The discipline, psychiatry, recognizes this and names the person’s experience one of several diagnostic terms. Treatment for these illnesses often involves heavy psychotropic medication and repeated hospitalizations.

Since the 1970’s, the Peer Movement (Mad Pride movement) has developed alternative ways of both treating symptoms and understanding their significance. Advocates have had some successes changing the nature of mental health care in the United States to one that empowers individuals.

The artist, in 2014, attended a seminar with UK Mental Health peer advocate, Ron Coleman. Coleman himself is a voice-hearer, and at the seminar the artist was introduced to the idea of “voice profiling.” The masks, with the materials explaining them, are in fact a development of Coleman’s idea of voice profiling. Using a mask-building technique the artist learned as an undergrad at The College of Saint Rose, the masks are the artist’s re-creation and imagining of the voices which have accompanied the nearly two decades of his illness in adult life.”

The Punk Rock Sketch and Sip

A different kind of art event.

Let me introduce myself, I’m Rob. I’m a local artist.

Something that bothered me: the best way to develop great paintings of the human figure is with an actual live model in the room. I could very well ask any number of friends and they may pose for me at no cost to me, –but I am an artist and expect to be paid for my work– models should be paid for their work, too.

So this is where the punk rock comes in, and let’s just get great people in the room with a desire to draw.

So, I book it, –we all just split the cost while we listen to some great indie, punk and electronica music– and we have a pint on the house. Then we draw from some great art models with tattoos and dyed hair, –and they are just cool people anyway.

So, the Punk Rock Sketch and Sip was born. It sounds great already.

We’re at the Low Beat, 335 Central Avenue, Albany NY 12206, –in one of the best rock clubs you’ll find in the area –or anywhere, really. Come in, draw, drink, –and I’ll use my decade of teaching experience to walk you through drawing figure. Come in if you’re still learning it for the first time, –or if figure is old hat. We get professionals, and any other skill level. Your all welcome. If you can make a line I will teach you. If you’re a working artist, I’ll just be at my easel, drawing, and I’ll let you do your thing.

Its a low-stress, casual way to practice figure, –or learn it for the first time. We give a discount for students with a valid college ID.

We have some materials, but attendees are encouraged to bring their own. Bring an easel if you have one. Seating may fill up quickly. Bring a sketch book and go at it.

Our next event will be announced soon, please check back with us.

$12 general/$8 with a valid student ID. Hope you’ll join us!

For more information, or to get on our e-mail list (6 or so emails a month) message me @

Cultivating the Sketching Habit (V)

Again, at the library with my son, I fit in sketching where and when I can, even if I am only sketching for twenty minutes at a time. A lot of people think you have to set large blocks of time aside to draw or paint. This can seem daunting to most people (self included) but if you set aside shorter intervals (15-30minutes) you loose the excuses that keep you from being creative:


reproduction “Bamboo Groves in Mist and Rain” Guan Dausheng (1269-1319) Molowto Acrylic Paint marker (metalic silver)

(Author’s note: I have been fascinated with traditional ink painting as a form since discovering Gao Xingjian’s novels. –the author makes his principle living as a painter of traditional Chinese art). As a white artist I am sensitive to the idea of cultural appropriation, so I generally have shied away from trying to study or re-produce the form. As a general rule, I feel artists ought to be thoughtful about how their work borrows and is influenced by cultures outside their own. I may ultimately color this or tint it, since most of this type of painting was in color.)



Study: Old Farmhouse, pencil on paper. From the book “The Photographer’s Mind, by Michael Freeman 

Did a bit more sketching today while I was at the library with my son.



” Birch Trees” pen ink on paper.


There’s only 3 images here, I was out at an event promoting the non-profit class and showing a few pieces at a vending table. So, I was sketching between interacting with people. The perfectionist in me would like to try and clean these up once I am back home –but I try not to let myself do that. Instead, I let these images simply be what they are: imperfect, incomplete, unfinished. They’re studies that might inspire further drawing or painting, but all in all, they’ll likely sit in a sketch book.

I try to encourage students to always be drawing. The practice keeps up your skill so it is there when called upon when you do commissions and your own studio work. My recommendation is you should match a twelve-to-one ratio of sketches and studies that get tucked away in your portfolio, to ever finished piece intended for a gallery or sale.

A higher ratio is better, but 12:1 is about what I aim for.

The first image is a composite:


sketches, graphite and Molotow Gold Metallic Acrylic Marker

Image: (above) clockwise from top left:

1. Tree, Dana Park

2. Sofet detail, abandoned building, Lark Street, Albany.

3. Commercial building, Delaware Ave., Albany.

4. Mobil Sign, Madison Ave, Albany.


After that I did a couple quick studies of attendees in the crowd.



Molotow Acrylic Paint Marker



study, graphite


En Plein Air (open air) Painting

While I am not primarily a water-colorist, (to me that was always my mother’s medium and she still owns the title family water-colorist) –I have begun to develop a lot of work in that medium. 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 made an effore to develop proficiency in the medium. As I had to teach other people to use watercolor, I quickly taught myself and have greater comfort with it.`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.



Sky, Washington Park



Stones, Washington Park



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.



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



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

Industrial Strength New Years Eve @ Broadway Joes, Buffalo NY, 12/31/1015

It was a bitterly cold end to the year, when Destroy Eleven joined Soul Reactor, Burrangels, Petals and Thorns, and Standard Issue Citizen for Industrial Strength New Years Eve. I didn’t get a lot of photos, but there were a few.

All and all, some fantastic performances…

Soul Reactor:


















Petals and Thorns:




Man Woman Machine:





Also, (not performing, unless you count lulz as performance) NDru Virus:


Thanks everyone who was a part of the night, whether I was meeting you for the first time, or we’ve worked together previously.

Eleven Images: New Work, 2016

First post of the new year. So, hey!

The older, recent works can all still be seen here.

Find my e-mail in the about section and contact for details.

To finish off the last of old business, the last image I started in 2015 was a little canvas I shortened the name to “Starvation.” After a second sitting, it came off a little too flat and blended. So, I darkened the image up slightly with some Burnt Sienna, and I think this one’s ready to take off the easel and let dry.

Here is the final image:


“Starvation” 11″ x 14″ oil on canvas, Was $60, now $45


I had a wood panel left from a bunch of wood I scavenged last summer. I really enjoyed this one:


“The Window,” graphite and acrylic paint on gessoed wood panel, first sitting.


“The Window,” graphite and acrylic paint on gessoed wood board, 9″ x 19″ (approximate) $175 (on exhibit)


Been working lately with graphite in my painted oil and acrylic works, I am liking the effect thus for of working more mixed media:


“Dissolve/Dissolute” 16″ x 20 inches, graphite and oil on canvas. second sitting.



“Dissolve/Dissolute” graphite and oil on canvas, 16″ x 20″ Was $135, now $115.

Getting back on top of the pieces I have been working on, I may have some pictures of this in process, and I will try to get them up eventually. Here is the finished product:


“Uneasy Chair” oil on canvas, 12″ x 12″ Was $115, now, $95



Began color-blocking a new piece today, this one already ended up with a name. The end result will likely be much less representational, also, the panels will be suspended in a manner similar to “There is No Gentle Way Down from Here.”

Began color-blocking a new piece, so far, untitled:


“No One Got Left Here” color blocking, acrylic on 2 8″ x 10″ canvas panels.



“No One Got Left” acrylic pain on two 8″ x 10 canvases $125. (SOLD)


New work, did this one quickly. In acrylic, which is unusual for me.


“Irreconcilable Indifferences” acrylic paint on canvas, 16″ x 20″ $75

Started two new canvases, but these are begin with unusual (for me) ideas.

This one is called “sleep” or “rest.”


“At Rest” color blocking, oil on canvas, 12″ x 12″


“At Rest” second sitting, oil on canvas, 12″ x 12″


“At Rest” third sitting, oil on canvas, 12″ x 12″ It’s close, but this is going to need another sitting.


Body at Rest, 12″ x 12″ oil on canvas, Was $205, now $185.

And this thing, I just have no idea at all:


“The Quiet Area,” oil on canvas, 16″ x 20″ first sitting


“The Quiet Area,” oil on canvas, 16″ x 20″ second sitting.


“The Quiet Area” third sitting, oil on canvas, 16″ x 20″


“The Quiet Area” final, oil on canvas, 16″ x 20″ was $250, now $225


Both these pieces are going to need further work. I am challenging myself and varying my technique more.These are different pieces for me, so I am using a mix of under-painting/glazing, and some palette knife. Keeping on working I suppose.
[update, but have final versions, both took a good deal more hours than I anticipated]

I’ll have to start tallying up to see how close I came to hitting my goal over the past couple months, (I’ll do so when I photograph all my new works for my catalog and put wires in the back). It’s now a new year, and I don’t see any reason to slow down on what I am doing. With that in mind I did some color blocking on two new, yet untitled canvases.

Began color-blocking a new piece this morning:


Color blocking, first sitting, oil on canvas, 8″ x 1o”


“Something like Purity,” First sitting, oil on canvas, 8″ x 10″


“Something Like Purity”oil on canvas, 8″ x 10” $45

Touched this last on up a little as well.


“Something Like Purity” oil on canvas, 8″ x 10″ final $75

Some new pieces, drying:


An entirely new piece, this came together in a single sitting:


“An Appearance of the Apparition,” oil on gessoed wood panel, 11″ x 16″ $195

Second sitting, Still not quite closing on what I want with is image:


Untitled, (second sitting) oil on canvas, 8″ x 10″



“An Elemental”final, oil on canvas, 8″ x 10” $60

Began color-blocking a new piece, after I finished the last one (Vine), here is it after a first sitting:


Untitled, first sitting, oil on canvas, 8″ x 10″

The newest finished work. This is going to be another installation, like “There is No Gentle Way Down From Here” (see below).


Dead on the Vine, finished panels, oil on canvas, 12″ x 12″

The idea I have for this piece will incorporate two metal sheets, one attached to each canvas, and suspended in a manner like the weights in old grandfather clocks.

I need to buy supplies to realize this. A purchase of one of the works for sale would help me get that done.

Color-blocking this morning:


“Dead on the Vine” oil on canvas, 2 12″ x 12″ panels, first sitting.

5.23: color-blocking on two new pieces

(the triptych I have talked about)

The Triptych is done!

Here are some images of the finished piece:


As as I was working on it, I got the idea to suspend the panels by eye-hooks and chain, so the triptych would hang together as a single installation. Here I am cutting the chain and assembling the parts.


Finished work, “There is No Gentle Way Down From Here,” Oil on canvas, (3 8″ x 10″ panels, total dimensions: 10″W  x 48″H) chain and brass eye-hooks.  $275


A close shot of the chain and eye-hooks.


Panel 1


Panel 2


Panel 3


New work, color blocking, oil on canvas, 3 vertically stacked 8″ x 10″ panels.


Untitled work, second sitting, oil on canvas, 3 vertically stacked 8″ x 10″ canvases.



New piece, color blocking, 12″ x 12″ oil on canvas, first sitting.


Untitled work, second sitting, oil on canvas, 12″ x 12″


“No Lover isn’t a Noose in Time” oil on canvas, 12″ x 12″ was $60, now $45

First sitting with two new pieces:


Untitled, oil on canvas, 8″ x 10″ first sitting.

Worked for a bit on both these pieces (8, May):


Untitled canvas, oil on canvas, 8″ x 10″, second sitting

Two images of the finished work:


Lullaby for a Cast-away, (finished) oil on canvas  8″ x 10″, $70


Second image, drying on my wall, “Lullaby for a Cast-away” $75.


Untitled, oil on canvas 16″ x 20″ first sitting.


Untitled, oil on canvas, 16″ x 20″ second sitting


Untitled, 3rd sitting, oil on canvas, 16″ x 20″



“Either a Swan-dive, or an Invitation?” (drying on the wall) oil on canvas, 16″ x 20″ $205

First sitting with two new pieces:


Untitled work, first sitting, 10″ x 14″ oil on canvas


“Tendrils, rivulets”oil on canvas, 10″ x 14” $105

With the both of these pieces I am experimenting with working a little differently. The second image here, I aimed to do this one with very thin washes of paint over each other, slowly building up the color’s intensity.  I also plan to use a very limited pallete, I may eventually involve a shade (to create more contrast) but so far, this images is using only Yellow Ochre, Medium Yellow, and Permenant Green Light.


“Prozac Listening Party” oil on canvas, 8″ x 10″ first sitting


“Prozac Listening Party” oil on canvas 8″ x 10″ was $75, now $55


Life got real busy with other things, but I briefly got back to my easel today. This is the second sitting on this piece, I had blocked out shapes and colors previously. Where the yet untitled piece stands now:


Untitled, oil on canvas, 16″ x 20″, second sitting

Sat down and worked (third sitting) on the newest canvas. I may revisit it in the morning, but I think it is done:


“Flesh Cathedrals”oil on canvas, “18 x 24”, third sitting, final was $245. now $215


Started another canvas too, not very interesting yet, just blocked color.


Started new pieces (one is a commission, so I will share images of that when it is delivered). When the commission was done, I used some paint that was left on my pallette to start a new small piece.

New work, this one likewise came together quickly and in two sittings (I did not photograph the original sitting/color blocking for whatever reason):


“Schism” oil on canvas, 11″ x 14,” $125

First, there was this image:


“A Rest for Troubled Waters” first sitting, color blocking. oil on canvas, 16″ x 20″

Third sitting (normally, I am better about photographing my progress, but I worked on this piece of and on a couple days ago. I did not get a photo at the intermediate stage. Here is the final piece, however:


“A Rest for Troubled Water” oil on canvas, 16″ x 20″, $205

And, I blocked color (with a palette knife) on a new small piece:


Untitled, first sitting/color blocking, oil on canvas, 8″ x 10″ work in progress.

Second sitting. I would still like to have one more go at this:


Untitled work, oil on canvas, 8″  10″, second sitting.

Worked on this piece again. I set it aside to develop it more, but I decided I like it as is. Sometimes, I don’t know:


“A Close Reading of Tea Leaves” (final), oil on canvas, 8″ x 10″ $60

Another image of the same:


A Close Reading of Tea Leaves, oil on canvas, was $70, now $60

New piece:


“for this moment, everything is mine” oil on canvas, 18″ x 24″ $135

Came together in one sitting, but I had a very specific idea about it.

These two with be the first pieces this year.


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

Second sitting:


Lick the Wound (Until My Tongue is Gone), oil on canvas, 11″ x 14″ $125

And the other:


Second untitled canvas, oil on canvas, 8″ x 10″ first sitting.

Second sitting:


“A Masque is for Truth-telling”, oil on canvas, 8″ x 10″, $65.

Will be updating with more images as the pieces and others come together.

Best wishes to my readers for the new year!