What is discrimination, bigotry, racism, ageism, and sexism (and more) but variations on this theme of not respecting who people are? It’s all basically saying you don’t approve of that person as they are. You want them to change to be more like those you approve of. In other words, you want them to be more like you.
Expect my Resistance
I am going to assume for a moment you are reading this from a comfortable, non-threatened existence. Think through what what would happen if the tables were turned and you were the one being shown disrespect for your very existence. What would you do? If there is enough power arrayed against you, you might just get along as best you can, not cause trouble, not raise a ruckus, choosing to preserve your life and family over the conflict that would surely come if you stood up.
But what if this went on for decades and centuries, always finding a way to rear its ugly head no matter what supposed progress was being made. What if the disrespect was so violent as to actually threaten your existence and not just yours but your family, your tribe, your culture. Then what would you do? It’s the impetus behind every struggle for freedom and equality in the history of the world.
Whose Side Are You On?
If you do this thought exercise of putting yourself in another’s shoes it’s not hard to finally understand why people who have been threatened in this way are standing up and fighting back. The question is, are you on their side? Do you respect their existence, not as you want them to be but as they are?
The painting looked at her longingly, hoping she would feel the same. She did, paying $765,000 for her and putting her over her couch so they could watch TV together.
Two Portraits
The portrait sat there for years but the serpent was a good singer so she didn’t mind.
Sculpture and Volcano
The metal sculpture was always hoping for visitors but was usually alone because of the volcano.
Sculpture and Patron
The dream recognized his recent lover but took no responsibility, blaming the image and deed for her condition.
Sculpture and Paintings
The ancient sculpture spontaneously started crying oil paint of various colors from every minute crack and became a pilgrimage spot for all true artists from everywhere.
Sculpture and Nude
The sculpture enjoyed blocking the view of the nude since she was jealous of her having a body.
In 2015 a new app came out called Periscope. It was the first true live streaming app and I gravitated to it immediately. I’ve have been using it ever since. I’ve met some incredible people on it, some who have become dear friends.
My best Periscope pal is Barry, better known as Freddie Ferret. He started appearing in my scopes around 2016 or so and became a loyal participant. He and is family live in St. Louis and back in 2018 and 2019 I stayed with them while on my way to Marathons in Illinois. In 2019 I was able to spend an entire evening with them and took advantage of the time to draw his 2 daughters, Jaedyn and Shealeigh. I drew them on watercolor paper with the intent of painting them later. It took a while but finally got around to it in time for Barry to give them to his daughters for Christmas this past year (2020).
Portrait of Jaedyn, watercolor on paper, 2020
Portrait of Shaeleigh, watercolor on paper, 2020
While I paint I test, dab and swipe the brushes on a separate piece of paper to test the color or to get the right amount of wetness on the brush. I do the same thing with my marker drawings on napkins and in my sketchbook. I always keep these pieces of paper and later have fun turning it into some sort of art piece.
I did that in this case and presented the ‘extra’ painting to Barry as a gift for our friendship over the years.
Update 3/6/21 – I posted this painting on Social Media and since it was so public I thought it might be kind to find the woman I drew. I had her company email address so I went on Facebook and found someone with her name who worked at that company. I friended and messaged her, letting her know about the painting having finally been finished.
She wrote back saying she loved the painting and lo and behold, even though I had no idea when I wrote it, the thought bubble and text bubble were perfect representations of what she had been going through at the time, which was a time of great indecisiveness (I don’t know) leading up to a final bout of clarity (I know) that allowed her to break up with her BF of four years and start a new life!
‘Know Don’t Know’, Watercolor on Paper, 2021
I drew this woman at a Starbucks in Tulsa, OK in 2019 before the Covid 19 pandemic hit. I drew it on Watercolor paper instead of in my sketchbook, hoping one day to find the time to actually paint it. I finally found time in 2020-2021.
I had drawn in the two thought bubbles early on and ignored them until I was done painting. I liked the idea of her thinking one large bubble worth of thoughts and then editing it down into a smaller bubble. My original idea was she would be writing a story and I even wrote a segment of a murder mystery and it’s edited version but didn’t like the vibe of it so never wrote it in.
Finally I went with what I was thinking at the time, which was, ‘I don’t know’. Once I finished the large thought bubble it made sense to have her typing out the exact opposite of her ‘I don’t know’ doubts, just like so many of us do on a daily basis.
These portraits from 1988 and 1989 are all from my sketchbook. Most of the models were friends from work or were students I asked to model to illustrate how to draw portraits.
Student in Profile, Ballpoint pen on paper, 1989
I asked my students to use sketchbooks extensively because I wanted them to draw as often as possible. Waiting until you are in the studio makes sense for media that needs elaborate prep but drawing doesn’t. You can do it on anything anywhere.
Kathy Lay, Ballpoint pen on paper, 1989
I would demonstrate my use of a sketchbook by using them as models in the lecture portion of the class then have them do the same, using each other as models.
Sheila Gomes, ballpoint pen on paper, 1988
I wouldn’t often get very far with the drawings while they were actually posing for me, usually just a line drawing like you see in the first few drawings. But I would work on them later and show them at a later session to show how you can start with very basic lines and take off from there, even without the model being present.
Theresa Castro, ballpoint pen on paper, 1988
I taught that there is power in focus. You don’t have to complete a drawing edge to edge, as a matter of fact, leaving most of it barely sketched in often allows the focus to be where you want it.
Judy Sugg, ballpoint pen on paper, 1989
These may look pretty realistic to some but they really aren’t. They are a stylized realism, not photo-realism. I taught that an absolute likeness is not essential unless you are being paid to do that. If not, then you can and should feel free to compose and stylize as you wish. It’s how you develop your own look and style.
Kristine Hayes, ballpoint pen on paper, 1989
Individual style comes from adaptation of what is into what you want it to be. In my case I love definition, contrast and volume so I increase the lights and darks much further than they were in real life to achieve that.
Suzanna Jones, ballpoint pen on paper, 1989
In my opinion, no one needs a photographic copy of someone in a drawing. There is photography for that. The acclaim that comes from someone saying, ‘Wow, it looks just like a photograph!’ is nice, but in my opinion it’s just a gimmick unless something much deeper is being expressed (which is possible with photo-realism, I just don’t see it often).
Janet Arsenault, ballpoint pen and Prismacolor pencil on paper, 1989
And of course, my work wouldn’t be complete without adding in a cartoon image, preferably including my longest running characters, Singing Snake and Turtle.
