The Unofficial Escapescapes Manifesto

One night last year I was walking down Queen Street here in Toronto. It was about 1 a.m. and I was alone. Although it wasn't the weekend, the summer air had the city in full party behavior. As I approached a well-known Toronto bar, I noticed someone being thrown out the front door by security guards. As it turned out, I not only knew who this person was, but also went to high school with him. I won't mention his name because it is not important to the story.
As he laid on the sidewalk looking like a pile of dirty laundry, I walked up to him to see if he was okay. He looked up at me in his brutally intoxicated state and, without even saying hello, says
"Hey man, are you still doing those large prairie landscape paintings?"
"Yes" I said, and continued on my way.
I haven't spoken to him since.

To be completely honest, I have no idea why I make these paintings. To take it a step further, I am almost comfortable saying that I don't even like looking at other landscape paintings, even my own sometimes.


My very first landscape that I can recall painting was when I was 18 and in high school. At that point I had no real direction in my artwork and experimented with still life, abstract, color fields, watercolor and photorealism. In fact, my first landscape piece was actually a seascape done with acrylic (which I later sold to a teacher who hilariously claimed it was the finest piece she'd ever seen come out of the paint department). It didn't stop there. From then on, all I could think of was landscapes. My focus was channeled into not only the landscape genre, but a very specific, almost minimalist approach to rendering each image.

This shift will be approaching its ten year anniversary very soon. Dozens of canvases and numerous showings later, I'm still producing work in the same style as I did all those years ago. The thought of whether or not I've progressed has never crossed my mind. Yet now that I think of it, I suppose that the only progress I've made is in my technique and knowledge of the materials I use. The work itself remains on a constant thread of ideologies and subject matter. Yet what is the work?

These paintings are large: I don't operate well in small spaces because I am not a small person. I like the idea that the canvas size should be an extension of the dimensions of your body, and that your arms, hands, and eyes should have room to roam freely within that space. They are landscapes, yes. There is always a distinct horizon line, one that I can't help but keep perfectly straight. The colors and moods created are fictional, and the palettes I've used have ranged from the natural blue skies to alien tones such as greens, purples, and yellows.

Although they would readily be classified as landscapes, I almost consider them to be more of cloud portrait paintings, which is where I believe the main focus to be in most of the pieces.

As I mentioned in the story at the beginning, some people believe these paintings to be grounded in the prairie landscape. Although I can understand that they give this impression through their flatness, I would have to disagree on some level. When I arrange these works, I am usually more drawn to marsh-like landscapes than farmed land. I find that the presence of water within a landscape provides endless possibilities for reflections, compositions and dynamism. That's not to say that I don't draw inspiration from the prairies: let's not forget that I drove there with specific intent on studying them years ago.

So why do I make them? I'm still not exactly sure. I think it's because they just make so much sense to me. Also, I think the fact that I still make plenty of mistakes when I paint, and will often paint over work in progress or older work (my most recent painting has four others underneath it), keeps me wanting to continue and practice more and more. The title "Escapescapes" comes from this yearning to leave the urban life for nature, so they have that sense of escapism. Having said that, I don't use reference material for most of these works, and that they imaginative love letters to the outside world. They are generally beautified glorifications of landscapes: the colors used are by and large sweet and warm tones - speaking to the hopeful notion that the grass is greener on the other side.
I should also mention that the majority of my work was done within a room with no windows, no power, and no ventilation, so you can see why the idea of escaping to somewhere natural was a necessary idea.


With that in mind, I would be the first to tell you that these works are inherently selfish. I love that people have been moved by these paintings, but it is very personal work and I do it mainly out of self gratification. This is why I've usually had trouble with the idea of doing commissioned work from photographs.

For now, I will continue to produce these works for an upcoming solo show this summer. I have no desire to stop producing these works, and am fortunate to have new spaces to paint and hang work continuously.


 

drifters

I firmly believe that an artists value should not only be validated through the content of their work, but also the incessant need to create it in the first place.

The only condition in which I'd actually look myself in the mirror and call myself an "artist" (a debate that has been touched upon many times on this site) is that I just want to lay all my ideas down somewhere I can see them. I don't really give a shit if anyone ever sees them; I just need to know I made them. In fact, 90% of all the work I've ever made sits in the dark. However, I experience solace knowing that it even transpired.

It shocks me to hear that some of my closest friends, who's works of art I once loved in the past, have nearly completely abandoned their love for creating more work and/or have barely made any since our last encounter. I don't understand how a once burning passion to created images was simply done and done-with after a certain point in their lives. Isn't it something that should just burn like an ember inside of you?

Personally, I know that once I have an idea in my head, it's go time. I smirk to myself, write or type it in detail (because one time I was drunk and wrote "family security" on a piece of paper and had no idea what the fuck I was getting at the next day), and then sleep on it. That entire night, I'll lay in bed with the sensation that I'd just won the lottery and didn't want to tell anyone. I then damn-near run to my studio within days to get things moving on a canvas. Nothing can get in the way of this kind of speed, because usually I know exactly what the finished pieces are going to look like, almost how a chef can taste the food before it's been prepared.

So for me to hear that ones inspiration to create is all but lost, it confuses me more than anything. I was going to say it saddens and upsets me, but a lack of motivation and drive are not character traits I hold very high. If you want to make it, make it. If not, just keep drifting.

pink cloud tracing paper

Sometimes, life just isn't fair.

Before summer began, I spent over two months working on the same painting. It barely budged. I would constantly work, re-work, and re-adjust on the same canvas - which is a terrible ordeal for the same piece of fabric when working with oil. I could never settle on a color scheme, nor an image itself. This is the type of thing that misdirects my ambition the most.

However, freakishly, today I nearly finished two in two hours.

Where is the justice?

I only have one real explanation for such ordeals:

Normally, I'll enter the studio with an idea in mind. Seeing as I predominantly work in landscape, I'll have an idea for color schemes, cloud shapes, and terrain. Some days, like today, are just considered "Hail Mary's". That's when you take everything you thought of before hand and just throw it out the window.

I had a very shape-shifting talk with MB one day, about a year ago. I was yammering about my approach to painting and how, if I don't know something, I do my research. If I'm ignorant to a fact, it would usually induce a big coffee, a big walk, and a big read. I'd never leave anything to chance. I would examine every approach (even chemically, at times), study color wheels and different brush strokes before I even thought of touching oil again.

I'd heard everything she was saying before, but really did need to hear it again.

There are times, artistically, when you really need to let things take their course. This afternoon, for instance, my nose never left the surface of the canvas. I threw every tendency to reevaluate the piece out the window, and let imagination take it's course. Colors shifted seamlessly. Blending happened naturally. I should have prefaced this article by saying that landscape artwork is vastly subjective. I once asked my friend Scott (way back) how to paint proper clouds, to which he answered "there is no real way to do it". I took that advice very literally, and decided to base an entire series of work based off that statement.


I am currently working on Absolute Nothings . This series will be in the works for the next few months, and will combine ideas from past works, with a slight twist. I'll keep you all posted on the progression, which may be a long time coming considering there is mathematical research involved.

ps. Flash portfolio website is in the works.

similarryties

Today I realized that the apples truly don't fall far from the trees. 

My dad and I make this pilgrimage to Oakville every few months to pick up oversized canvas from the gigantic DeSerres outlet store. I'm pretty sure the prices are the same as the one here downtown, but it's kind of fun to make the journey and we get a chance to catch up. 

So today we made that same trip. It went pretty much exactly the same as it usually does: we drove through shit weather, talked about bad drivers/the economy/work/family/the weather/sports (I pretend and nod a lot at that), we drank tim hortons, got off at the wrong exits and laughed at each others stank farts. It was business as usual. 

Once we got back to my studio, we cracked down on some manly shit. To be more specific, we drilled holes in the walls and used ladders. At around this point, I quickly became aware of how similar my dad and I really are. Once my dad uttered "Hey And, you got anything I can piss into?", I laughed and handed him my usual piss bucket and left him to do his business. 

The funny thing about that instance is that every time I've ever mentioned to someone that I have a piss bucket, they cringe and make a stupid face. My dad? We both understand that taking a piss is simply taking a piss, and there's nothing around it. Who cares that there's a jug of warm piss in the room? I just dump it into the drain outside my door. Be a man and get dirty for once you over-sanitized, kleenex-havin' baby! 

The next similarity came when he noticed my wagon wheel. Yes, I have a single authentic wagon wheel downstairs which I swiped from a leather ranch that had gone out of business. It was a hasslehoff to carry home, but I knew I'd use it for something eventually. He replied,

" Aw, sweet wagon wheel! You could turn that into a coffee table!", and that was my exact intention on having it. Because, the fact is, my dad would have grabbed that wheel off the street even faster than I did. We just both have an eye for useful junk. 

We continued to drill more holes (which will be used for hanging wet canvas instead of leaning them against the wall), crack jokes, and jam out to The Temptations. I explained the motion sensor problems I have and he told me of a friend who could remedy that problem. Excuse me? Where has this person been for the past three years while I've been doing stupid fucking jumping jacks all afternoon to keep the lights on? Needless to say, this person is coming over one day to hook me up, figuratively speaking. 

And to top off this story, he gave me a brand new step ladder! I am officially a man now, because I have my own ladder. All I need now is a truck, some more plaid, a baby, and over $50 in Canadian Tire money and I'm in the club.