Archive | Abstract

“Chromatic Water Theory VII: Chunk”

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

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

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 IV: String Theory”

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

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

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

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

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.

“Groupthink”

Groupthink-1500x1500px

Medium: Acrylic on Canvas
Size: 36″ x 36″
Year: 2015

Painted live with Spencer Reynolds at Musarity 2015 during live music set by Absynth Quartet.

This was a super fun collaboration. Mostly. Spencer and I hadn’t done this together before, but there’s a lot of mutual respect for each other’s work so we both looked forward to it. I paint a lot at live events though, and it was in my local neighborhood, while he doesn’t do this sort of thing too much. So unfortunately I got a good buzz going pretty quick and started letting everyone that wanted to paint on the piece, and didn’t realize how annoyed he was getting with that. Then at one point I started doing some big sloppy washes of an orange tone mixed to transparent with a lot of medium and since it was acrylic paint this could be applied willy nilly over everthing without screwing it all up, but being an oil painter he saw me flippantly destroying everything in a fast and loose slopfest and grabbed his brushes to leave. I think he got to the back of the room, cooled off and saw that I wasn’t destroying the painting after all and he got back into it. But yeah, I think he was a bit surprised by how emotional the experience was. I’m sort of used to letting go in these settings as it’s the only way to survive and enjoy it. But for him it was all so new and I’m a sneaky joker when I get in those settings telling people to go tap him out and grab a brush, then giggling in the corner watching the chaos ensue. Probably not the nicest of me, but if you can’t screw with your friends a bit, who can you screw with right? Shoot, I owe him a few set waves now, but worth it for the fun. He was stoked by the end too, so that was a huge plus. would have been pretty bummed if I really let him down and ruined the night for him. And to be fair, when I told him how the last time I did a live collaboration and the other artist brought a bunch of reference photos, I stole them and hid them until the night was over, Spencer approved of the mischief wholeheartedly, so in a way he was warned… Ok, I have a small mean streak, but only with friends.

 

“Flow # 1”

Flow-1-1000x1000pxat72dpi

Medium: Acrylic on Canvas
Size: 36″ x 36″
Year: 2014

Painted live on stage with Tom Curren and Matt Costa at the Sweetwater Music Hall during the High Line Festival of Surfing in Mill Valley, CA on September 6, 2014.

 

Scroll Up