Sundries

sundries
India ink, Dr. Martin's watercolors and white pencil.

My mother bought me my first razor when I was 14. She hated my chocolate-smudge mustache and insisted I wipe it off my face. The bribe: an electric razor, a Norelco triple-header, the state-of-the-art 0f the early 1970s, ideal for sculpting one’s Burt Reynoldsian fu-manchu and two inch sideburns. I returned from the bathroom after its maiden voyage. Mum balked, “Why didn’t you shave?” I protested, I had triple-headed off all the peach fuzz on my downy cheeks. “What about your lip?,” she snapped. “What? I have to lose my ‘stache?” She pointed an angry finger back toward the bathroom. I’ve never had a mustache since.
My boy shaves once or twice a week. He’s completely unattached to his own facial hair and loves to scrape it off. He’s an odd boy with his regular short haircuts. No piercings, tatts, fohawks for him. I don’t think he’s square, just self-sufficient.

Posted in Art

Sketchbook #3

Sketchbook3Here’s another video tour of one of my early sketchbooks. Old #3 was one of the first I handbound, nice heavy bond pages in a marbleized paper shell, courtesy of my recent classes at the Center for Book Arts. I was forcing myself to work in narrow confines back then — just line and a couple of warm grey brush markers to add tone. It’s interesting to me to see how my technique developed through the course of this partiucalar book and I was clearly itching for more media by book’s end.
(Those of you troubled by the quality of my last video will be glad to know that after much trial and error, I have developed a good video setup that is easier to watch and listen to. I hope it makes a difference.)

Glenny and me

Incidentally, I had a lovely time in Portland this week, chatting with attendees of the Art and Soul creativity conference and then giving a 90 minute talk on how and why I developed my drawing habit. I was amazed and delighted at how many people showed up armed with dogeared copies of my books and I was flattered that so many insisted I pose with them and have my picture taken. They threatened to invite me to next year’s conference in Virginia and I parried by threatening to come.

Death Valley Sketchbook

deathvalleyjournal

A decade ago, I did a week-long drawing trip through Nevada and parts of California with my pal, D.Price. The sketchbook I kept (only my 7th to that point) was the first step in my publishing career. When I shared it with an editor at City & Co., who liked it so much she asked me to assemble a book of my journals. Ultimately, though I ended up placing that book with Princeton Architectural Press (Everyday Matters), it was so nice to have someone interested in my work and this concentrated drawing trip was the kick-off point.
I was flipping through the original journal today and thought I’d make a little video tour. It’s also notable as several other firsts — one of my first hand-bound books, one of the first times I made a dedicated journal for one trip, and one of the first times I experimented with watercolors.

The film I made ended up being eleven minutes long, so I cut it into two episodes. You can see them both there.

Oh, and if you like this sort of thing, let me know and I’ll do more if it. (Though I am not trying to make anything technically sophisticated with these little films, I would love to know if there’s any particular information you’d like to know about my sketchbooks). I appreciate your comments and insights.

My landscape book


Here’s a little guided video tour through one of the sketchbooks I’ve been working on. All landscapes, all ink, all extra-awesome.

And if they flew by too quick, here are some snaps.

My Yorkshire – a visit with Richard Bell

My-Yorkshire1

When I went to Yorkshire to visit my drawing pal, Richard Bell, an ITV film crew showed up to profile him. They shot us as we drew together and later, they took him off for a tramp in the wild.
See me act like a New Yorker and horrify the locals while painting a snack truck.
(ITV was kind enough to send me a tape but they have not posted the show online so I am taking the liberty of sharing it here.)

http://www.youtube.com/v/OxBPwhkhuBs&hl=en&fs=1&

(Part 1 of 2)

http://www.youtube.com/v/M1hvQsXLSk0&hl=en&fs=1&

(Part 2 of 2)

Off the (Red) Hook

"Greco Concrete" by Danny. India and sumi ink, watercolor.
"Greco Concrete" by Danny. India and sumi ink, watercolor.

Butch, Tom, Jack and I had a great drawing trip this weekend. Here’s a little film from the excursion:

And if you liked that film, you’ll love this one Tom made the week before. Dig the dancing!

Self Distortraits

As I flip through my last few journals, I see that I am more and more drawn to drawing faces. Maybe that’s just a function of winter — when the weather is warm I can go out and plunk down on the sidewalk somewhere and draw landscapes, buildings, dogs being curbed. When the weather is inhospitable, I sit at my dining table and after I’ve drawn every object in the room, I flip through magazines and start drawing faces.

I tend to draw a lot of self-portraits — not become I am so fabulously handsome but because my face is always handy, right there, wrapped around my eyes. I’ve done hundreds, none of them even remotely alike. This winter, fiddling with my computer, I started taking distorted pictures of myself with my laptop’s built-in camera, then distorting them further with dip pens and brushes and sumi ink.

They’re part of my effort to do more than just draw exactly what I see but to add some feeling to the exercise. Of course, it’s impossible for me not to inject some subjectivity into any drawing. That’s enhanced when I keep it loose and free, the flaws enhancing my point of view.  But I find that when I start with something that’s unfamiliar, like the bulges and twists the computer puts into my face, I tend to pay more careful attention, take nothing for granted, create something that looks like a photo in the degree of detail; and yet feel free to push the lines further and add more sweeping grotesqueries.

I’m done with series for now as the sun has come out and my park beckons

My Park

First drawing done after the park reopened
First drawing done after the park reopened

One of the many wonderful things about where I live is that’s just a block from Washington Square Park — 10 acres of trees and benches and squirrels. It’s where we walk ourt dogs there several times a day. It’s where Jack learned to skateboard. It’s where we read and draw and chill. We’ve written books about it, made films about it. It’s our front yard.

Jack gave this tour of the park in the Spring of 2001. He’d been learning its history in school and gave it a uniquely Jack re-interpretation.

Almost two years ago, we learned that the park was going to be renovated and, in short order, a huge  ugly cyclone fence encircled most of it. Ever since we walked around the perimeter, like kid’s outside of Willy Wonka’s factory. I took to drawing what I could see of the park from my kitchen window, asecond rate substitute. Last summer was the hardest leg of the exile: no fountain, no concerts, no lolling on the lawn.

Last week, I got an excited text message from Patti: the fence was coming down! We’ve flowed into the park and discovered it was (almost) worth the wait.New flagstones,  rich lawns, lovely plantings, new benches and lamps. The fountain has been moved to line up with the Arch and Fifth Avenue and the park seems a lot less ramshackle and scrappy but still like home.

Here’s a collection of drawings done before after and during our years in exile. (Click on a thumbnail to open the gallery)

Drawing on memories

memory-media1

Patti had a birthday last month, the 22nd we’ve celebrated together. When you’ve been together as long as we have, you have to think  a little hard at birthdays and anniversaries and Christmas time to keep things fresh, to make sure that you can still express how much you love each other without falling back on the tried and trite.

Anyway, this year, I decided that one of the ways I would commemorate our history together was to take our ancient home movies and transfer them onto DVDs so we could watch them over and over. We have scads of old video tapes but the cameras that recorded and played them are long defunct. In fact, we have never looked at any of them since we initially shot them – films of our first trips together, of our wedding, of Jack’s early days and so on, all moldering in shoe boxes. Now we have a dozen gleaming DVDs, a box set of our lives up to about 1997 or so.  We have all watched them together over and again, particularly the ones when Jack first learned to use the potty and his first big argument with us on a trip  to Nova Scotia.

One of the more profound DVDs is the one I made when Patti had her accident and I was alone each night at home with the baby. For two months, I made videos of our daily life to take up to the hospital to show Patti that we were okay, that life was going on, that she had something to come back to. These are the hardest tapes to watch because I feel so sorry for the me that was, giving Jack a bath, rocking him to sleep, listening to music (Teddy Bear’s Picnic, The Ugly Bug’s Ball, Let’s Go Fly a KIte…) that was once so sweet and important to us but forevermore will signify the hollowness of those days.

Funnily, the more I got into drawing, the less video tape I shot. As the films peter out, my journals expand, so our whole life is recorded but just in very different media — and with very different effect. I read recently that when you look at old photos, they stir up old memories, facilitating recall. But when you look at old home movies, those images tend to actually replace your memories of the periods being recorded. When you think back on those times, your brain tends to pull up scenes from the films rather than organic (but not necessarily as reliable) memories. My mum had an 8 mm. movie camera when I was a baby and the images from those old reels are the only scenes I can remember from when I was two or three or four. Maybe nobody has much memory from that time, and mine are quite vivid, but I know they are all just scenes from one movie or another.

When I watch these old movies, I sort of vaguely remember the times when they were taken. When I look at these old videos, my experience is often of surprise. I think about how young well look, or weird my hair was, or how I seem to speak out of the side of my mouth. The experience is from outside — I am watching myself but not as myself. In fact I would venture that most of my experience is not radically different from what a total stranger or an acquaintance might think of the same footage.

The drawings in my journals, however, summon up a completely personal and intimate feeling. It’s more like a time machine than watching TV. I am in the moment, I am me now and also the me I was then.The act of drawing, painting and writing rather than just pushing a button on a  machine, forms completely different sorts of memories, When I look back at a page, even one that’ s more than a decade old, I remember so much about what I was doing that day, my mood, the weather, even the smells in the air. The experience itself is deeply embedded in my head and just glancing at the drawing takes me back there.

I am so glad to have both sorts of records of my past (not to mention dozens of photo albums and zillions of digital snapshots). I can travel back to any period of my life now and see my life as a continuum. There are so many lessons to be learned by looking back and seeing where one has come from, who one has known, how one made choices, how one felt.

Creating these records, particularly the ones that consists of just some feeble drawings and a few scratchy notes, is probably one of the most important things I’ve done. That sounds odd perhaps, that recording and observing one’s life could be of the most important things one can do with it, but that is the true purpose of art — at least to me. The value of taking a step back, of putting a frame around a moment so that it can stand for a thousand other moments unrecorded, to learn from one’s mistakes and to cherish one’s blessings, to hold up one’s experience so that others can share it and learn from it,  these things seem like the very purpose of art — and of life as well.