Fake new moralists

In the capital of Belgium, Brussels, is the Academy of Arts. As it happens in the same building as the Academy is an elementary School. The two schools each have their own entrance and students don't mix at all.

In April 2010 a Public Worker of the city of Brussels entered the Academy and "castrated" all the male nude statues there. These gypsum statues were used as models for the art students. The reason why he did this - according to "De Telegraaf" a Dutch newspaper - was that he didn't feel it was right that the children of the elementary school could be exposed to male nudes. 

(Note: the two schools had two separate entrances... exposure how?)

When I read this, I was furious. Here is an example of the fake moralists who think it is OK to destroy other's people property because it doesn't suit their "new" morale. What's next? We have to cover all the nudes in the Sistine Chapel? Maybe wrap a cloth around the David of Michelangelo?

Why do they feel it is their right to impose their fake new moral upon us?

From freaking out to cloud 7

Yes, I was nervous. I could not deny it... and nervous was maybe an understatement. At the same time I was really excited about the opportunity to present my work at the MOCA (Museum of Contemporary Art) in North Miami.

And all my dear friends who came to support me told me that I had nothing to worry about... Excuse me? Who are you talking to? Sure, but I am the one who is standing there later this evening....

Anyway, I was the first one to present my work. I took a deep breath... the lights were off, the beamer on, the microphone was working and I... went on a roll. I talked about Holland -born and raised- and my first nudes that I painted here

I moved on to the "Fresh from the Fridge" series and then I actually heard a whisper from the audience "look how beautiful"... I was so relieved and realized that people were actually enjoying my work and my presentation.

Then I continued with the last 3 paintings in which I tell the story of my transition from Holland to Miami. 

I was glowing and so happy, especially when I received compliments for my paintings and my presentation. I was completely on cloud 7.

Click here if you want to view my latest work "Transitions".

And sometimes...

In a previous blog I mentioned the fact that I was going to have a exposition in a restaurant in Coconut Grove in Florida. That was suppose to be in June. Luckily, and I mean that, I was given some more time to be able to create work that is up to par to what I want to show.

I am not the kind of artist that produces a painting per day like your average Plein-Air painter who is forced to paint this fast because of the limited time Mother Nature gives him/her to work on a painting.

Normally I set up a painting quite quickly and with set-up I mean the initial sketch on canvas and the underpainting in two or three colours. I use underpainting because in this way I can block the larger schapes on the canvas without "losing" myself into details at this stage. Also because the colours in the underpainting will deepen the final colours. Nothing is definite in this stage, as I start to observe it. Is the composition the way I want it to be, do I need to change or add anything to make it "work"? In this phase of my work it is very easy to change anything if I want to.

My next step is to work on the background and a little bit on the subject itself. Again I will not go into the fine details but I work on the colours and shapes. I work on the balance between the background and the subject . The background is very important to me because I want the background to enhance the subject - no matter if it is a nude or a pair of apples - not to overpower the subject neither to just let it be a colourfull filler of canvas. This is the part where I look at my painting for hours at a time without actual painting.
This frustrates my partner a lot as to him I am doing nothing and often he remarks: "I thought you were going to paint today..." "I am." is my reply and I see him thinking "Whatever, next time I will stare at the dishes and tell you that I am cleaning them."

In the third stage I am working on the little details and finalizing the painting.

So what are we talking about time wise? I normally work about 2 to 3 weeks on a painting (which includes drying time as I work with oils). Because I know that it takes me time, I usually work at two paintings at the time - not more because of limited space.

And sometimes ... I paint one in a day, from start to finish, like I did yesterday. In less then 8 hours from start to finish I painted Pullo, my red cat, out on the porch.

Just to contradict everything I said before. Oh well, that is life!

Summer Salon 2009

Last night was the festive opening of the Summer Salon Exhibition at the Windisch-Hunt Gallery in Coconut Grove, Florida. It was a very special evening full of different forms of art... not just paintings but also poetry from Jerry Wade and Jonathan Rose, life music by Zip Robertson and a fashion show with Handbags from Debra Cortese and Ceramic Jewelry by Jennifer Trujillo.

A portion of ALL sales from this show will be donated to NEAT STUFF (http://www.neatstuffhelpskids.org/). This is a non-profit organization that provides free brand new clothing, shoes, accessories and gifts to meet some of the basic needs of abused, neglected and other children in distress, allowing them to dress with pride and dignity, inspiring their self worth.

It is a wonderful show and more so because the body of work within the Summer Salon is so diverse and covers a wide range of styles and subjects. Yet our curator, Cucui Beguiristain, managed together with Annamaria Windisch-Hunt to make it all coherent.

The Summer Salon is showing untill the end of June and worth a visit.

I submitted three paintings for this show :

"After Ten", Oils and Acrylics on canvas, 10" x 14"

Some people were wondering who my model was for this painting....

"Getting Ready", Oils on Canvas, 12" x 12"

"A Last Look", Oils on Canvas, 10" x 14"

But now a more personal note...

I always get nervous before an opening and this evening was no exception. I guess this is my version of stage fright, not that I am afraid to forget which painting is mine - like actors are afraid to forget their lines, but the knot in my stomach feels just as real.

But I had wonderful support from my partner (he is truly the wind beneath my wings), my friends and everybody else. And with such support the knot shrinks quickly enough for me to enjoy every bit of the evening.

And for this: Thank You.