Frank Gregory's Studio Wall

Maybe Next Time

2009-11-23T07:42:00.005-05:00

Broken Pots
2009 oil on canvas 10" x 20"

I am re-visiting a subject I haven't painted in 29 years. When I started at MassArt in 1980 I thought I was going to be a graphic designer, but I quickly got bit by the painting bug. My first series of paintings were of broken terracotta flower pots my mother had lying around. This is the subject where I learned the basics of oil paint. Although those paintings are definitely student work, I can look at them now (still hanging on my mother's wall) and also feel the excitement I felt at having made them, and the possibility of the next paintings being better. Little did I know then that the better paintings are always the next ones.

Only Evening

2009-11-20T22:26:00.006-05:00

"Only Evening"
pastel and acrylic on matboard
25" x 25"

Yes, another view of the intersection, although this time it's evening and the world is still barely lit by the sky. Also, this is a pastel on dark blue matboard. I don't make a lot of pastels, although I have a complete set of expensive french pastels I salvaged from a trashed display case several years ago. The retail display had an actual piece of each pastel hot glued into a plastic covered recessed well under each color's bin. The art supply store I worked in was throwing it away... I took it home and spent an hour or so removing each piece of pastel. Well worth the effort as I now have one of every color. I've messed around with them over the years, but never produced anything I really liked... also the feel of the pastel, the dryness, the way each color breaks so easily never really appealed to me. l aways came covered in dust. That said, I had a good time making this one.

(update for those who were here before: this is a new photo, the previous one was not accurate. )

OK, OK I said I was done before... really this time...

2009-11-16T10:28:00.002-05:00

Only Raining (Again)

oil on canvas 25" x 25"

Same Old Haircut

2009-11-14T16:51:00.003-05:00

Same Old Haircut oil on canvas 4 3/4" x 6 1/4"

I've been told this one looks more like me. There's quite a lot of paint on this little canvas. I was looking at Wayne Thiebaud recently, specifically his use of white for backgrounds and the thickness of his paint. What a great painter!

Two Little Paintings

2009-11-08T16:15:00.010-05:00

East Main Street, 01301- 3:00 to 4:00 pm November 7, 2009
10" x 10" oil on 8 ply ragboard

This was a fun little painting to make. Again, this was done from the top floor, north-east corner window of the newly christened Arts Block in Greenfield, MA. This is that really fleeting time of day when the sun is low in the sky, raking across the landscape and intensifying all the colors. The window of opportunity to paint this is very short, as the shadows are moving faster than mid-day and have a very profound effect on the image. Consequently, even with the way I paint, this is heavier and thicker than usual. Color, value and mark-making decisions are made very quickly and corrected faster and usually right into paint already applied, as opposed to removing paint with a pallet knife or rag... Detail is sacrificed to the gods of color.

Multi-tasking Self Portrait
4 3/4" x 6 1/4" oil on canvas on gatorboard

I was working in the shop all day Friday and at about 4pm I had enough and went upstairs to the studio. I have several small panel pieces that I had cut off of a larger one used for the Coffee at Night painting, and decided to do a self portrait. Not long into it, the phone rang and and I had some business to do, but kept right on painting. Later on the phone rang again and scared the life out of me.

Only Raining... again

2009-11-05T21:48:00.003-05:00

Only Raining 25" x 25" oil on canvas

Well, I wasn't happy with the painting and went back into it.... hard. You'll also notice that I did'nt crop it like I was going to.

Only Rain

2009-11-02T23:35:00.006-05:00

Only Rain
22" x 22" oil on canvas

I made this painting as a combination, sketched on site but painted in the studio from photographs and the other paintings done on location... larger, looser and more hard fought, I'm not sure what to think of it yet other than I can't wait to make another.

Only Only

2009-10-09T09:21:00.002-05:00

Only Only
18" x 18"
oil on canvas

Stayed late last night and finished the painting. These things are always a surprise. I have an image in my mind, but they never turn out the way I expect. Most of the time it's a good thing. The only thing in my control really is the composition. The first mark of opaque color points in a certain direction, then I'm along for the ride not really knowing where we'll end up.

Dark & Light & Grisaille

2009-10-08T06:09:00.008-05:00

This is the grisaille oil sketch of the next night painting from the Arts Block, looking east into the intersection of Main and Federal. Not much to look at yet, but I always like the paintings at this stage, when the composition is defined and the lights and darks are suggested. I have painted this intersection at night before, though not from life, nor from above. The constant flow of cars changes the light of everything, especially the painted lines and directions in the road. Tentatively called Only Lonely, I still haven't decided what to do about the traffic and may make the painting void of cars.

This is the intersection looking back towards the Arts Block building glowing in the morning light. I am painting from the top floor corner window. The top two floors are empty and open with no interior partitions, and have never been occupied by more than storage.

Greenfield at Night

2009-09-29T19:32:00.003-05:00

This is the first painting of Greenfield at night from the window of the newly christened Arts Block. It is 18 x 18 oil on canvas on gator board. Those who know Greenfield will remember the building as the Clark's Sport Store building. Originally the Arm's Block built in the mid 1800's, the top two floors have never been occupied by more than dry storage. This is looking north across Main Street towards Bart's Cafe.

Light at Night: Photography & Painting

2009-09-24T07:13:00.008-05:00

When the sun goes down, the world truly becomes a place of our own making. Objects that don't emit light are defined solely by reflective quality. A bright red box that is not reflective is nearly black, whereas a black box that is highly reflective will bounce a nearby red light all over it's surface. Light sources are random in color, size and intensity; and when they are in motion anything reflecting their light appears alive and moving.

I am making a series of paintings and photographs at night from the upper windows of a building in downtown Greenfield. Painting night images from life is a luxury. There just aren't that many places with the proper light to paint by combined with an interesting subject to paint. Here are some photographs I shot from these windows, and the beginnings of a painting. Ultimately I will be making a larger painting in the studio (from these smaller ones and the photographs) that will go to the town of Greenfield. I received a grant from the Massachusetts Cultural Council to produce this painting.

Todays Painting & The Easel

2009-08-18T17:00:00.011-05:00

I thought it was hot yesterday. Today was hotter and for some reason I pulled off the road at the trailhead for South Sugarloaf in Deerfield, grabbed the paint kit and headed off up the trail. By the time I reached the top I was soaked. So here is the little painting I did up there. For those of you Google Earthlings out there: Latitude 42°28'46.89"N Longitude 72°35'30.62"W is the top of the cliff.

Here are some pictures of the easel box I recently made. This is similar to a box I made way back in 1985 to take on the Appalachian Trail. That box held 3 wet 8" x 10" paintings on 4 ply matboard, (although I painted oils on watercolor paper taped to the matboard). This version is much improved. It is made for 10" x 12" and will accept 8 ply matboard, or 3mm Dibond. The original box had plexiglas as the pallete surface and a hinged wooden upright to hold the panel in place. This box is constructed from 1/2 birch plywood with Dibond surfaces on both sides. It can hold either 4 panels or 3 panels and the upright board, which is also Dibond. This upright slides into place over two 1/2" brass mending plates that also hold the painting in place. The solvent cup is held in a brass ring that screws into an insert in the door.

This unit fits nicely in my old Jansport Rucksack. I carry my paint in a small plastic storage box from the Dollar Store, and my Mineral Spirit in an old squirt bottle. I also bring another small bottle to carry out the used mineral spirits. Rags, an old tube filled with brushes, a waterbottle, my camera and Kerodex 51 complete the kit.

Frameshop Painting

2009-08-17T17:38:00.003-05:00

Man, it was hot today... I had some time to do a painting and wanted to paint Greenfield from Poet's Seat Tower. I've lived here since the late 80's and have yet to paint from the ridge... Anyway, I went up there to scope it out and just about cooked in no time flat. So, a day off and back to the air-conditioned shop. I used to paint interiors a lot and forgot how interesting they are. This was a quick two hour painting to christen my new easel / wet painting box I made a while back. I'll post some pics of the easel soon. Some may recognize the Delta drill press in silhouette, but only a framer will recognize the Jyden Chopper in the lower left. Tomorrow I will paint outside ... but early...

Slave Cabin

2009-06-23T19:13:00.010-05:00

I have finally finished the slave cabin model for the Sumter County Museum in Sumter South Carolina. The real cabin exists on their property, but is in the middle of a hunting preserve and is fairly rundown, not to mention the presence of snakes and wild boars.

The model is in 1:24 scale, where a 1/2 inch equals a foot. The building is 16' wide x 16+ ' high x 48' long, so the model is 8" x 8" x 24".

It is made so the roof can come off to show the interior, which includes beadboard and random width boards, and a double fireplace as this is a duplex.

I also made little hinges of metal and fishing line, that has been rusted with a patina chemical. All the doors and shutters open and close.

Wood Thrush

2009-04-27T10:45:00.004-05:00

I've been working on a couple of models for a nature center. Here is the woodthrush. Next will be a New England Cottontail Rabbit.

Sugarloaf & Sunderland from Mount Toby Tower

2009-02-10T07:55:00.003-05:00

Not much to look at yet, but here is the beginning of the next 60" x 20" panorama painting. This one probably won't include any birds, but who knows for sure at this point.

The Heart's on Fire auction last night went fairly well. Lots of bargains were had. My little painting, "5&10&2A" went for the full value.... thanks to all the bidders, especially JD. My paintings are in especially fine company with your collection.

Artspace Greenfield Hearts on Fire Auction

2009-02-05T16:12:00.005-05:00

I am donating this oil on birch called 5 & 10 & 2A to the Artspace Greenfield Hearts on Fire Auction this coming Monday February 9 at the Hope & Olive Restaurant. It depicts the intersections of these routes (Main & Federal Streets) in Greenfield, MA

I made this painting last year as part of a continuing series of night images of Greenfield and surrounding towns. The outside of the frame is 14 3/4" x 17" and the painting is 8 1/4" x 10 1/4". It's a bit retro with it's painterly realism, but I've always enjoyed making these. and I think this is a particularly nice little study.

This is a detail of the street lights. The value will be placed at $300. About $100 of that is the custom designed and unique frame I built for it. Anyway, bid high and bid often, email one to Mary Kay Hoffman if you'd like. Thanks, they are a very worthwhile organization.

Woodpeckers Over Graves Street

2009-02-03T10:24:00.003-05:00

oil on canvas 60" x 20"

next is Robin over Greenfield

nearly there... nearly there....

2009-01-31T18:00:00.010-05:00

I finally found some time to work on this painting. I had to stop in early December as I became very busy in the shop and out. Christmas framing was fairly steady. The crunch came with a large order from the Clark for 25 frames for the Toulous Lautrec exhibit, which we just finished hanging last Thursday, and the book mounts for Holy Cross, which I installed the second week in January. So I am back in the studio. It didn't take long to get some wind behind me. Yesterday and today I made some real miles. I can't wait to be done with this thing.... what was I thinking?

update 6 and tempus fugit

2008-12-03T06:24:00.017-05:00

Yes, I've been slowly plugging away at the painting, although reality caught up and I became very busy in the shop and out. I am working on an exhibit of Transcendentalist Books for the Cantor Gallery at Holy Cross College in Worcester, MA. The collection has come from the Sant Bani School in Sanbornton, NH. Here is a PDF from their site discussing some of the books and the thinking of the transcendentalists. The exhibit follows an interesting meandering brook that leads from Thoreau's dictionary to Elvis Presley's copy of Kahil Gibran's The Prophet. I went out there to measure and handle the books for custom Plexiglas mounts fabricated to hold them safely open to specific pages.

I've also been working a piece for Jane Lund's annual invitational exhibit at the Northampton Center for the Arts. This years theme is Let's Play, Artist's Look at Toys. I went through three iterations before settling into re-working a clock from the past I was never too satisfied with.

The yellow feather is the second hand and as such moves fairly quickly. The minute hand is the maple seed and the hour hand is a sable paint brush. The airplane is made of old barn board. When I was a kid, we used to take apart the old buildings of an abandoned farm behind my neighborhood. We'd spend all day straightening bent nails with a rock and then build things with the wood. Besides building forts, we made a few fairly large airplanes, some with 10 foot wingspans that we would then throw off a 3o foot cliff in the woods..... great fun.

Behind the second hand it says Tempus Fugit (written backwards of course) and behind the shell is a penny.

Update 5.3 More Bird

2008-11-06T21:57:00.003-05:00

OK, I got a little ahead of myself and had to leave the little houses behind for a bit. I feel pretty good about the little pecker...

Update 5.2 Plein Air Wisdom

2008-11-06T06:23:00.012-05:00

Color and drawing decisions made painting outside need to be quick, but not rash; accurate, but not obsessive and confident but not insistent. The trick to then working indoors from photographs is to use all this information in an honest, not artificial way. It's all about the painting after all.

I am re-posting a previous essay I wrote on plein air painting:

True Magicians

Contemporary Plein-air painting and contemporary Blues music have a lot in common. Both have a wide appeal to a large and diverse audience. Both also have identifiable formats and loose sets of boundaries that are deceptively simple and direct. Yet despite that simplicity, both are extremely difficult to master, and not many do. Like the Blues, plein-air painting is a very democratic art form. It is not pompous or pretentious, it does not exclude anyone with its form or vocabulary, and there is little if anything preachy about it. And also like a good blues song, when it all comes together a great plein-air painting is nothing short of magic.

A plein-air painting is a conversation of sorts; it is a sharing of an experience in as direct a way as possible. The scene goes in the eye of the artist, rolls around in the head a bit and then goes right out the hand onto the canvas. The magic occurs when the sum of the experience results in a painting that equals more than its parts, and includes a universal truth, an understanding, or genuine emotion.

We've all seen them, those magical paintings. What is it that makes these paintings work? Whether plein air landscapes or huge abstract pourings, they all have one thing in common. They have a quality that we recognize, but can't adequately describe in words. They do more than transport us into the head of the artist. These paintings validate our consciousness; they verify our experiences and emotions. For those that are open to the experience, seeing their own personal emotions, or observations on display can sometimes be very unsettling, and even cause some to deny the artwork its magic and the artist his skill. Although truly poignant plein-air paintings will more often than not bring a whispered, "YES" than a disturbed denial, they are no less powerful because of it. Sober cityscapes or desolate industrial views are not often "pretty", but their honesty can still affirm an experience and elicit a profound response.

Although a certain level of realist skill is often admired, it isn't solely the representational qualities that make a painting magical, otherwise only tightly rendered and highly detailed pictures would have it. In fact it can sometimes be as simple as a relationship of colors or values that will move the viewer. The experience can be like catching an elusive and reminiscent scent in the air. Before you know what has happened, you're transported somewhere else. When this happens it is sometimes unnerving, but it's always interesting.

Can there be a formula to create such artwork? There may be, but if so it is not something that can be taught directly or copied honestly, because any formula is the result of the individual artist's hand, an awful lot of paint, canvas, time and very hard work. To make such paintings it is important to be honest with yourself, absolutely fearless, ruthless with your intent, and equally open to both utter joy and intense pain. However hard we try, these are not things anyone is capable of feeling all the time. Still, when it all comes together, it is truly magic, and worth all the effort.

copyright 2008 Frank Gregory.

Update 5: Better Bird & Another 'hood

2008-11-05T21:13:00.009-05:00

There's no question painting like this is work. Very satisfying, but work none the less.

Those of you with kids of a certain age will be familiar with the character Dory from the movie Finding Nemo. The voice over was done by Ellen Degeneres. Dory is an ocean fish with short term memory loss who befriends the lead character, a clownfish named Marlin on his quest to find his missing son. Anyway, Dory's sage advice to a disheartened and frightened Marlin is to just-keep-swimming... just-keep-swimming .

just-keep-painting... just-keep-painting...just-keep-painting...

Tom Waits is a true American genius. Lately I start my day with Get Behind the Mule. If that's a little harsh I also really like John Hammond's version.

Pin your ear to the wisdom post
Pin your eye to the line
Never let the weeds get higher
Than the garden
Always keep a sapphire in your mind
Always keep a diamond in your mind

Got to get behind the Mule
In the morning and plow
Got to get behind the Mule
In the morning and plow
Got to get behind the Mule
In the morning and plow

Update 4: Bird Blocked

2008-11-01T07:06:00.004-05:00

Yesterday I was able to finish the foremost field and row of trees. I also started blocking in the Hairy Woodpecker a little more. I made a small shelf for the mount to sit next to the painting and put an old paint rag behind him for a similar color field.

I also stopped using my laptop and setup my old computer and monitor. The laptop monitor has a real color and value shift depending upon where you look at it from, also I got tired of cleaning paint from my keys and touchpad.

Update 3: Down on Graves Street

2008-10-30T22:22:00.012-05:00

Again, not much time to paint today, even still I got a good piece of this neighborhood finished, or nearly so. I believe this is Graves Street. I've been working on this in a certain way, pretty much moving right to left through this mid-ground, and drawing as I go along, with the paint. I think for the remainder I am going to define the rest of the drawing more tightly. I almost jumped to the left side to work my way back, but realized, thankfully, that the middle then might not match up. Once the drawing is fully defined, I can then paint anywhere with abandon. Drawing and Painting 101. It's scary how easily we can forget information we don't use very often.