Archive | Live Art

“The Glider”

Medium: Acrylic on Canvas
Size: 18″ x 36″
Year: 2017

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Notes:
This year the San Diego Surf Film Festival held a tribute night to San Diego’s Skip Frye, who has been building beautiful boards and outsurfing everyone for over 50 years. The hall was packed with legends of the surfing world there to honor Skip with the SDSFF Lifetime Achievement Award. As each speaker stood to speak about Skip they would mention what an honor it was to honor such an inspiring individual. If they could have read the mind of the painter standing in the back of the hall busy crafting this visual tribute to Skip based on an old Ron Stoner photograph, they would have seen that there was nobody in the room that felt more unworthy of the honor of being there than him. Of all the amazing artists in San Diego, this fuzzy kid from Humboldt rolls down and is asked to perform his trade for the audience to admire, heckle, mock, or cheer (all of which happened in spades). Beyond stoked. This one was for Skip.

 

“Chromatic Water Theory VII: Chunk”

Medium: Acrylic on Canvas
Size: 36″ x 36″
Year: 2017

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Notes:
Much can be said of beautiful harmonies, but there is also a place in music for the dischord, the feedback, the reverb, the chunks of rawness strewn about from a creative process that values expression above technical prowess. Even the ugly shorepound is beautiful to the bodysurfers and boogie boarders.

This painting is another reminder that every song has its roots in water.

This series was created live during the Redwood Coast Music Festival inside the Morris Graves Museum of Art. The overall concept of the series was to explore the connections between music and water, through a set of shared geometric structures.

“Chromatic Water Theory VI: Platinum”

Medium: Acrylic on Canvas
Size: 36″ x 36″
Year: 2017

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Notes:
I painted this one during a Johnny Cash tribute set, while the painting (and occasionally my big fat head was projected on to a 30 foot screen behind the band). Slightly awkward, but hopefully a fun visual to compliment the music. Thinking of Johnny Cash and the music he produced, it got me thinking of vinyl records. Like a drop in a pool of still water, the rings emanating outward from that single point. (I know it’s a spiral really, but song by song with the little spaces between em, they’re circles alright?)

Those albums played the world over, resonating with listeners from all walks of life, reveal the power of music to speak to our souls.

Thank you John. Thank you.

This painting is another reminder that every song has its roots in water.

This series was created live during the Redwood Coast Music Festival inside the Morris Graves Museum of Art. The overall concept of the series was to explore the connections between music and water, through a set of shared geometric structures.

“Chromatic Water Theory V: Theory and Practice”

Medium: Acrylic on Canvas
Size: 18″ x 36″
Year: 2017

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Notes:
While rhythm is undoubtedly a universal element, music is the realm of humans. As such it’s not the perfections that make it speak to us so deeply, it’s the imperfections. Listen to a beat machine produce a synthetic rhythm, perfect in repetition, but void of life. Then listen to a human drummer, full of nuance and subtly placed mistiming, but always coming back to where they started, like water lifting and falling as waves pass through. In theory perfection is the goal, but in practice it’s the imperfection, the unpredictability, the deviations from the established patterns that remind us we are alive.

This painting is another reminder that every song has its roots in water.

This series was created live during the Redwood Coast Music Festival inside the Morris Graves Museum of Art. The overall concept of the series was to explore the connections between music and water, through a set of shared geometric structures.

“Chromatic Water Theory IV: String Theory”

Medium: Acrylic on Canvas
Size: 18″ x 36″
Year: 2017

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Notes:
Stringed instruments often contain a dizzying array of mathemetical geometries; the length and/or thickness of strings, the placement of frets, the bodies themselves. All of it designed to vibrate those strings at the right frequencies to produce harmonic sounds. But what is vibration, if not a wave? Reduce a wave to its mathematical base and you have a simple sine wave, an oscillation between two points at a regular frequency.

This painting is another reminder that every song has its roots in water.

This series was created live during the Redwood Coast Music Festival inside the Morris Graves Museum of Art. The overall concept of the series was to explore the connections between music and water, through a set of shared geometric structures.

“Chromatic Water Theory III: Strum”

Medium: Acrylic on Canvas
Size: 18″ x 36″
Year: 2017

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Notes:
Sound upon sound, wave upon wave, a simple strum of a stringed instrument produces something that combines to a beautiful note. Sound is a wave after all, watch what happens when multiple waves collide, the result is usually something far beyond the sum of the parts. A synergy of moving water, a liquid chord in the key of H2O.

This painting is another reminder that every song has its roots in water.

This series was created live during the Redwood Coast Music Festival inside the Morris Graves Museum of Art. The overall concept of the series was to explore the connections between music and water, through a set of shared geometric structures.

“Chromatic Water Theory II: Resonate”

Medium: Acrylic on Canvas
Size: 36″ x 36″
Year: 2017

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Notes:
Many instruments have within their design a method of capturing, redirecting, focusing, and amplifying the otherwise ordinary sounds produced by whichever vibrating element they employ. When those vibrations bounce off chambers, refract around curving elements, they grow to a beautiful pitch, much like a wave as it approaches shallow water. Certain underwater topographies produce the most beautiful apparitions of moving water imaginable.

This painting is another reminder that every song has its roots in water.

This series was created live during the Redwood Coast Music Festival inside the Morris Graves Museum of Art. The overall concept of the series was to explore the connections between music and water, through a set of shared geometric structures.

“Chromatic Water Theory I: Percussion”

Medium: Acrylic on Canvas
Size: 36″ x 36″
Year: 2017

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Notes:
Percussion, it’s the foundation of music. It’s been here all along, discernible all around and within us, from water’s rhythmic waves to our own heartbeats pumping our saltwater life force through our bodies. From the basic repetition emerges increasing complexities, and with a human intellect at the helm becomes the very structure upon which song is built.

This painting is a reminder that every song has its roots in water.

This series was created live during the Redwood Coast Music Festival inside the Morris Graves Museum of Art. The overall concept of the series was to explore the connections between music and water.

“A Hope and a Future”

A-Hope-and-a-Future-1333x2000px

Medium: Acrylic on Canvas
Size: 24″ x 36″
Year: 2016

Painted at the Humboldt Cannifest 2016 Live Art Invitational, where 10 artists were invited and given one day to paint a piece from start to finish. The audience then voted for their favorite pieces over the weekend, and “A Hope and a Future” won first place. Honored indeed.

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