First post in a while, introduction and whatnot.

Phillip Potter Lichen and Small Skull, 9″x12″, watercolor on 140 Hp Arches paper

 It has been two years almost to the day when I started the path as a full time artist. So…. I wanted to make a blog post about what it is like to be an artist. To make a record of my process, so I have something to reflex upon and to compile my progress and failures. Also, as many artists seem to be I am dyslectic and really could use with a daily writing exercise (and well I am not the best writer). So  may I add, sorry for and grammatical errors and so forth. I am hoping any tips, tricks, or how to information will make up for it.

 I am hoping to do daily or almost daily posts (probably not really going to happen), including my morning sketch, works in progress, materials and all sorts of what ever tidbits that happen in my day. Hopefully showing a perspective of life as someone with an obsession of making.

Lichen and Skull, work in progress watercolor on 140lbs Hp Arches

 A bit about me and mostly about my art background that is. I was born and raised in Denver, CO in the late 70’s. I had lots of per-university art exposure and maybe I will have a chance to post about that some day soon.  I attended (then) Metropolitan State of Denver (now it is “University”) from 1997-1999. With the help of my drawing professor (a student of Richard Diebenkorn while he attended UCLA) I was excepted to The School of the Art Institute of Chicago and spent the next two years there 1999-2001.  2001 was a though year for anyone trying to get a start to a career and I was no exception because of what happened that late summer.  While at the start of my university art education Metropolitan State of Denver I worked at a heavy duty vehicle parts company part time and in 2001 because of the current job market I started working there again. I pretty much stayed with that company until 2016 ( I did jump around a bit and worked for a local photographer, Pamela Mougin who has since passed away. I also worked in large format printing, repaired Mac computers and customer support for a piece of building software.)

From 2001 to 2016 I was still making art, just not full time. I started showing in Denver in 1999 and showed very rarely until 2009 when became a showing artist and member at EDGE gallery in north Denver. At about that time I started showing quite a bit and entering call for entry shows (maybe I will post about how I currently fell about call for entry shows in the future)  Also I started dealing with a few local Denver art consultants that sold some of my work and commissioned a few large projects.  In 2013 one of these large commissions was for 6 large works that needed to be complete in a short amount of time. I was working full time 40+ hours a week and completing the commission on top of that was quite a task. After I finished that commission I put my art making on almost hold. I left EDGE gallery and was no longer taking commission or activity trying to sell work. This was a very bad idea, I am still after two years of full time art-ing trying to get back to 2013 sales, commissions and exhibitions.

Abstract oil paintings in progress

 As of April 2018 I became a member of Spark gallery and have a scheduled show February 14th – March 10th 2019. I am currently engrossed  in making work for this upcoming show. I will be posting works in progress for this show.

I am also currently working towards  a certification in botanical art and illustration at The School of Botanical Art and Illustration Denver.  I have wanted to to this program for a very long time. Now I have the time to do this program. Thankfully they have a scholarship that I applied for and received that covers most of the programs costs. Continuing to learn new approaches and techniques, I feel is very important in making great work and pushing yourself into new places of work.

The stages of attachment, building canvas stretchers and stretching canvas.

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48″ x 72″ canvas stretcher. Oil painting work in progress in back.

I wish I could make the idea of building canvas stretchers sexy, but it is just some milled lumber. There is something special about building things yourself though. In this case building the skeleton of the skin that is the canvas that is almost never seen or thought of. Eight 45 degree cuts attached to make perfect 90 degree angles. A few pieces of strait lumber to keep the rectangle from flexing, so when the canvas is attached it will always be flush when hung. Simple ideas but sometimes not easy to complete.

I have been building variations of painting surfaces for 20 years or so now.  The first semester at school, A painting instructor of mine at The School of the Art Institute approached me while in a painting studio and I think he asked why I was working so small. As an art student I was pretty broke and working larger at that time was not in my budget. He suggested I go down to the wood shop at the school and start making my own canvas stretchers and stretch my own, as it would be more cost effective and I could start working larger. A semester later I was asked to apply for the advanced painting program by the head of the painting department. The rest is history as they say.

More that being cost effective, it became this integral part of how I make work. It makes the painting process deeper for me. I am not just slapping some paint on something I picked up at the art store. I was part of the birth of the surface that I will then lovingly apply paint, building composition and having a connection with the end result.

Dried Maple Leaf Time Lapse

Here is a fun little project I did and made a time lapse of it. I will be making a tutorial on drawing with graphite with this footage as well soon. Check back in in a week or so and I should have it ready. Please go to my YouTube page and follow me if you have a YouTube account. Or if you have anything you would like to see me make or have a tutorial idea leave a comment. Thanks again!!!