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Printmaking

Route 44 – A Journey – Chapter 13

Chapter 13 Even though a teaching position at Cameron University in Lawton hadn’t worked out I stayed friends with Jack Bryan and kept in touch with him and what was going on there at Cameron. When I decided to look for another position, I called Jack and told him of my plight. He said that they would be looking for a temporary replacement for my friend that got the job I hoped that I could get. He had been granted a sabbatical and was going to leave for a year. This was my dream job and even though it was technically a temporary position, I thought there was a good chance that my friend would not return. He had never been very happy there and I knew he wanted to leave. I talked it over with Jo, we were both very homesick and hated the weather in Iowa and now that the school situation was less than great, we decided to take the chance. I called Jack back pretty quickly and told him that I was interested in the position and he replied how quickly can you get here. So, after only a year in Iowa we were putting our house on the market and planning to move back home. Maybe everything was going to work out. The housing market in Sioux City had not improved over the last year and we didn’t have any problem selling our house at a nice profit. We quickly packed up, rented another U-Haul and headed for Oklahoma. My parents had left Lawton and moved to Oklahoma City a couple of years earlier but Jo’s mother and sister still lived in Lawton. They were excited about us moving back and started looking for a house for us to live in. By the time we got there, they had found a small two bedroom in the same neighborhood that they lived in, in fact it was just two doors down from the house Jo’s sister lived in. This was maybe a little closer than I would have chosen but amazingly we had fun. When I was a student at Cameron, the Art Department had a couple of classrooms in a general classroom building. They had expanded now to two barns on the edge of campus. One of the barns was a concrete dairy barn that was at one time part of the agriculture program. The other was a metal barn, also at one time part of the agriculture program. The concrete barn housed painting and printmaking and the metal barn housed sculpture and ceramics. The buildings had their obvious problems but it was nice to have dedicated space that you didn’t have to share. I taught all my classes in the concrete barn. It was the smaller of the two buildings but it was functional. We even had a small gallery that I took responsibility for booking and curating shows. The larger metal barn had a hayloft that was not being used so I asked Jack if I could use it for a studio. He said sure, so I started cleaning it up, adding lights, tables, etc. to make it functional. It was a little cramped but I made it work for painting. I was teaching painting and printmaking so I used the schools printmaking room for my prints. During this period I was painting with acrylic as usual but I wasn’t painting on canvas. I was experimenting with painting using as little substrate as possible. I was using a lot of acrylic paint with a little cheesecloth to keep the paint from stretching. These paintings were inspired by Ed Moses’s resin paintings. I was trying to get a similar paint layering while keeping the painting flexible and less brittle. Throughout my career I struggled with visual continuity between my prints and my paintings. The standard printmaking methods lacked the spontaneity that I had come to rely on in painting. The difficulty in printmaking to work on a large scale also seemed to hamper the visual energy I felt was so important in my paintings.  I had used a collage technique for years in my paintings to build texture and image. In the current paintings I was using paper, cheesecloth and string in a collage manner to help stabilize the acrylic polymer. So, in printmaking, it seemed like an obvious move to work with collagraph techniques. Collagraphs are intaglio prints that use collage techniques to build the printing plates. This plate making process was very similar to the way I paint without using color. I would start with a cardboard plate similar to mat board or chip board then build up texture with modeling paste and gluing textural elements to it using acrylic polymer. The finished plate would be inked with standard etching ink and wiped off the surface leaving ink in the recessed parts of the plate. The plate would then be printed on etching paper using an etching press. The resulting print has textural effects that are very realistic and unique. The whole concept of printing is to produce multiple images but to do this, every part of the process must also be duplicated exactly. This makes color application difficult and the process to apply color very stiff. For these reasons I decided to forgo the multiple duplication and hand color each piece making it a one of kind work of art. This resulted in a very rich and visually exciting work that complemented my paintings. For the first time my love of painting and printmaking seemed to be working together. The rich textural effects of the collagraph prints ultimately affected the paintings and pulled me into a subtle but new direction in painting where real texture was an important visual effect. This led me to experiment with larger paintings created with smaller prints that are pieced together. My art was developing nicely but my teaching job was coming to a screeching halt! I don’t think I really realized what was happening. If you remember my position was a one-year replacement position and my year was coming to a rapid close. I had really never let myself think about the fact that this was a temporary position. I felt from the beginning it would work out to be more but now it was coming to a close and nothing seemed to be opening up. My friend was definitely returning so that position would no longer be available. I started looking for a new position at a new school on a national basis. I attended the National Art Association conference in Los Angeles but found nothing. Things were looking pretty bleak for a full-time position. Cameron’s program was growing and there was a possible need for part-time or adjunct work. Jo and I talked it over and neither of us wanted to move so we decided to try for a part-time position at Cameron and stay in Lawton and seriously pursue my professional painting career. I talked to Jack Bryan about the possibility of me staying on at Cameron as an adjunct professor. Jack was less than positive about this possibility but said he would ask the other faculty. This was my first clue that everything was not as wonderful at Cameron as I had thought. I had made good friends with the sculpture instructor and the adjunct ceramics instructor but I had not gone out of my way to make friends with the art education instructor. This turned out to be a big mistake. Without going into a lot of painful details, I was not asked to return in any capacity to Cameron. I was devastated, I had never been fired before and technically I wasn’t fired in this case but it sure felt like it. I was very disappointed in Jack, it felt like he didn’t fight for me, which really hurt and had a huge negative impact on our relationship. On reflection, I was so young and naive; I didn’t have a clue about the inner workings of an Art Department or the politics that it took to run one. Even though I thought I had done an excellent job in teaching my assigned classes and had stepped up and done more than had been asked of me by organizing and directing the gallery, maybe I really wasn’t a good fit in the organizational growth of the Department. Whatever the reason, I was out of work and the reality finally hit and we realized our future was not in Lawton. [caption id="attachment_886" align="aligncenter" width="501"]The first Cameron paintings were inspired by Ed Moses' reisen paintings. These were done with acrylic, cheesecloth and paper and were hung unstretched. "Yellow and Blue With String" / 36"x36" / acrylic, string and cheesecloth The first Cameron paintings were inspired by Ed Moses' reisen paintings. These were done with acrylic, cheesecloth and paper and were hung unstretched.
"Yellow and Blue With String" / 36"x36" / acrylic, string and cheesecloth[/caption] [caption id="attachment_887" align="aligncenter" width="480"]"Six Panes" /48"x48" / acrylic, paper and cheesecloth "Six Panes" /48"x48" / acrylic, paper and cheesecloth[/caption] [caption id="attachment_889" align="aligncenter" width="469"]"Opposite Rotation" /48"x48" / acrylic, paper and cheesecloth "Opposite Rotation" /48"x48" / acrylic, paper and cheesecloth[/caption] [caption id="attachment_888" align="aligncenter" width="437"]"Textured Chevron" /48"x48" / acrylic, paper, muslin and cheesecloth "Textured Chevron" /48"x48" / acrylic, paper, muslin and cheesecloth[/caption] [caption id="attachment_880" align="aligncenter" width="721"]"New Start" / 5"x6.75" / collagraph print on Arches Buff Cover "New Start" / 5"x6.75" / collagraph print on Arches Buff Cover[/caption] [caption id="attachment_881" align="aligncenter" width="646"]"Pork Bait" / 7"x7.75" / collagraph print on Arches Cover "Pork Bait" / 7"x7.75" / collagraph print on Arches Cover[/caption] [caption id="attachment_882" align="aligncenter" width="609"]"Birthday Jitterbug" / 6.75"x8.5" / hand colored collagraph print on Arches Cover "Birthday Jitterbug" / 6.75"x8.5" / hand colored collagraph print on Arches Cover[/caption] [caption id="attachment_883" align="aligncenter" width="644"]"Blue Spot Spinner" / 8"x8.75" / hand colored collagraph print on Arches Cover While teaching printmaking I produced a series of collagraph prints that had the same visual appeal that was in my paintings. The plate making process was similar to the techniques I used in painting and the heavy actual texture was refreshing after the lack of texture in the resin paintings. These prints and this printing tecnique led to larger works and my next series. "Blue Spot Spinner" / 8"x8.75" / hand colored collagraph print on Arches Cover
While teaching printmaking I produced a series of collagraph prints that had the same visual appeal that was in my paintings. The plate making process was similar to the techniques I used in painting and the heavy actual texture was refreshing after the lack of texture in the resin paintings. These prints and this printing tecnique led to larger works and my next series.[/caption] [caption id="attachment_884" align="aligncenter" width="725"]"Collagraph Painting" - 64"x80" - acrylic on Arches Cover mounted on panel board "Collagraph Painting" - 64"x80" - acrylic on Arches Cover mounted on panel board[/caption] [caption id="attachment_885" align="aligncenter" width="707"]"4-Way 4 Panes" - 64"x80" - acrylic, modeling paste and muslin on canvas After leaving Cameron, I no longer had access to a printing press, so I started experimenting with collage techniques on canvas and then using thin glazes and wiping them off similar to the inking process in printing. This began the development of painting techniques that I still use today. "4-Way 4 Panes" - 64"x80" - acrylic, modeling paste and muslin on canvas
After leaving Cameron, I no longer had access to a printing press, so I started experimenting with collage techniques on canvas and then using thin glazes and wiping them off similar to the inking process in printing. This began the development of painting techniques that I still use today.[/caption]
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Chapters 9, 10 and 11

Chapter 9 During the massive job hunt, I packed up the studio and stopped working on art. There was no one using the studio space during the summer so I moved most of my large paintings to a back room and brought my paint, brushes and materials home. After talking briefly by phone to the Chair of the Art Department at Pembroke I was very excited to accept the invitation to interview for a Printmaking position. He said they would make the arrangements for the interview and be back in touch with the details. He called a few days later with flight and ticket information and it was set. The truth is I was more than excited about this opportunity. The whole interview thing was a little scary. I had never even flown before and I was about to fly over 1200 miles to interview for the one and only job available for me this year. Scary. . .terrifying! By the time I was scheduled to leave I was a wreck and I had a bad head cold. I boarded that plane determined to do my best. The flight was about a three-hour flight to Atlanta where I had to change planes for the final flight to North Carolina. Remember, this was my first flight and I had no idea what to expect or how difficult it would be to change planes in Atlanta. Well, everything went well except for the head cold. I was so congested that my ears never equalized in the ascent from Oklahoma City and again in the descent into Atlanta. Talk about a headache; in addition to my head about to explode, I lost my hearing. I realized that I couldn’t hear when the plane was on the ground and taxiing to the terminal, I looked over and out the window and saw the lady sitting next to me. She was a middle aged black woman and she was obviously talking to me but I couldn’t hear anything she was saying. In a panic I looked away hoping that she didn’t think I was the biggest bigot in the universe. I got off the plane as quickly as I could and made my way into the airport. I didn’t have a clue as to what I should do so, I just avoided all eye contact and wandered around the Atlanta airport afraid to look at anyone, afraid they would speak to me and I wouldn’t be able to hear them. I found my connecting flight and about the time I was to board my ears finally equalized and I could hear. What a relief but now I was afraid this would happen again and I wouldn’t be able to hear when I reached North Carolina and I would never be able to find or communicate with the person who was sent to pick me up. The second part of the flight was shorter and I started trying to swallow hard the minute we took off to keep my ears clear. It was still painful but I was able to get my ears to pop so I was able to hear. There was more turbulence on this flight so I had other things to worry about, maybe that was a blessing. We landed and I was never happier to be on the ground and to have my first plane ride over. I got my luggage and headed to the gate where I quickly found, or maybe he found me, the Chair of the Art Department. Paul VanZandt was his name and he had a knack for making me feel at ease. I found out why on the 30-minute trip from the airport in Fayetteville to Pembroke and Paul’s house. It turned out that Paul was also from Oklahoma and got his undergrad degree from OSU. Another coincidence, again I don’t think so. I quickly realized that Paul was really trying hard to not only make me feel at home but was also trying to make a good impression. This realization was very odd to me -- didn’t he know that this job was the only job in America. Of course, it was not the only job in America but there sure weren’t enough positions to go around for all the recent graduates. The interview was a quick two-day event so there was a tight schedule to follow. As I mentioned earlier I was staying with Paul and his family in their guest bedroom. So I quickly put my things in the room and laid down for a minute to rest. I was informed that we would be having dinner back in Fayetteville with other faculty members and would be leaving for the restaurant in about an hour. Paul’s family was friendly and continued to make me feel welcome. His house was an older two-story house with great southern charm. So far, this interview was going great and not what I expected. We left to meet the others at the restaurant, again about a thirty-minute trip. I learned that Paul’s art was ceramics and he was very dedicated and passionate about it. That was a good thing and even though I didn’t know much about ceramics, we shared that passion about our art. We got to the restaurant and I met the rest of the faculty. The restaurant was an upscale steakhouse and we were seated a large round table. As the waiter took drink orders he asked why we were dining with them and Paul replied, “We are trying to convince this young man to accept a teaching position with us at Pembroke State University.” OK, now I am really surprised -- he doesn’t know they have the only job available in America. I was so surprised with this statement it was all I thought about the rest of the trip. The evening went well and we got back at Paul’s house late and I was extremely tired so I went straight to bed to try and get ready for a full day of meetings tomorrow. The next day I toured the Art Building and the rest of the campus. It was small but adequate and what they didn’t seem to know was it was the only job in America. We had more meetings with faculty and administrators and at the end of the day they offered me the job. Crazy, this was not what I expected at all. I really was prepared to wow them with my abilities, skills and dedication but I didn’t have to do that at all. Well, I verbally accepted and they told me the official contract would be mailed to me. Done deal, I had my first full-time teaching job. I was a University instructor. I couldn’t wait to tell Jo but I had to wait a while until I was alone so I could call her. The flight back to Oklahoma was much better than the flight to North Carolina. Maybe it was because I was so excited about the outcome of the interview or maybe it was because I knew what to expect but I didn’t suffer with the ear problems like I did in the previous flight. Back at home, Jo and I were excited to start our new adventure. Neither of us had ever lived out of Oklahoma and we were ready to move and experience new things and meet new friends. Chapter 10 We immediately started planning and preparing for the move. We decided to go with a moving company because of family connections at a local moving company in Altus, Oklahoma. This seemed like the best option because we wouldn’t have to rent a U-Haul truck and tow our car. The moving company was located in Altus, about 100 miles from Norman. This meant we would have to pack everything and contact them to pick it up before we left for North Carolina. We didn’t have a lot of furniture, just a few odds and ends pieces, a bed and a lot of big paintings but it still was a lot of packing. I stayed in contact with Paul back in North Carolina and he started looking for places that we could rent that would be convenient to school. Mid-summer, I went out to my former studio for the first time in a couple of months to check on the paintings and start preparing them for the big move. By this time it was very hot and the building the studio was in was not air-conditioned. When I went into the room the paintings were stored in I noticed a bit of an oil paint smell, which I thought was a little odd because it had been almost three months since they were completed and shown. At the time of my senior show they were completely dry with no oil odor. As I walked across the small room to the wall the paintings were leaning against, I noticed amber colored puddles on the floor under the paintings. At first I thought that it was water from rain and a possible leaky roof. On closer inspection I realized it was thick partially dry oil. Remember my deKooning inspired painting medium. Willem deKooning had said the reason he liked it was that it didn’t dry, I didn’t think he meant ever! The oil had separated completely from the paint and run off the canvases onto the floor. So, if any of you think you might want to try this, you might want to think again or at least get real safflower oil and don’t substitute Wesson oil. Amazingly, the paintings didn’t look bad because the pigment stuck to the canvas and the oil is all that ran off. There were a few streaks where it ran down the front surface but even those disappeared over time as you can see by the pieces in this exhibit from that series. About this time Paul called and said he had found a great house that would be available for rent when we arrived. He said that it was a little pricey but big and very nice. My first thought was about the cost, so I asked him about that first and he said that it would be $135.00 per month. We were paying more than that for a two-bedroom apartment so that shouldn’t be a problem so I asked him about the size and location. He said it was 3000 square feet, in the country about seven miles from school. 3000 squarefeet, that was about 3 times the size of our current apartment. Jo and I talked about it and decided to take it sight unseen. We were very excited about it and a little scared about the size, how would we ever fill it up and would we get lost rambling around in a house that big. During that summer in 1973, we experienced the nation’s first oil crisis. Even though it wasn’t that bad in Oklahoma, we saw long gas lines and increased prices all over the country. We knew we had a very long trip coming up to North Carolina and uncertainty on the availability and price of gasoline in North Carolina. We were driving a full size pickup truck at the time that got about 9–10 miles per gallon and I wasn’t sure we would be able to get enough gas to get to North Carolina. So, we started looking for a different vehicle that would be more gas efficient. We decided on a new Ford Pinto wagon. Although the Pinto later would get a lot of bad press with exploding gas tanks and other problems, we had really good luck with ours and later would buy another. It was red with the wood grain side panels that made it look like a cute, small version of the “family truckster” featured in Family Vacation. We finished packing all our worldly goods and called our relatives at the moving company and made arrangements for them to pick them up at our apartment in Norman. They would then take them back to Altus and store them until the next full load was heading for North Carolina, then they would put our stuff on the truck with the full load and bring it to us. They assured us it wouldn’t be long, probably not over a week, because Fort Bragg was in Fayetteville and that was a prime transfer location for Army families. We packed our personal stuff into a few boxes and filled what little luggage we had with our clothes and strapped them on our nifty luggage rack. Almost as an after thought, we thought we should cover the luggage rack just in case it rained, so we bought a cheap plastic tarp and strapped it over everything. The back of the new “family truckster” was completely full up to the front seats. We left just enough room for our dog between the two front seats. We both hopped in and took off for our new and exciting adventure. We got about 30 miles until the plastic tarp ripped to shreds and was dangling about two car lengths behind us. The next town down Interstate 40 was Shawnee, Oklahoma. We stopped at the Wal-Mart, bought another tarp and tried to secure it better in the parking lot. As I remember it lasted about another 100 miles. Jo and I have never been real die-hard drivers. Neither of us can last more than about 100 miles before we have to stop, so every 100 miles we would stop and switch drivers. Late that first night we still managed to make it to our first day destination, somewhere around Jackson, Tennessee. Our dog was a really good-natured dog that we found as a puppy in a McDonalds parking lot. She was about 60 pounds full grown when we made this trip, so she was a pretty big animal. She was much too big to be cooped up in a 1 foot by two foot area for 12 hours. She made it pretty well the first day but she kept crowding closer and closer to the front seat. We were all tired and ready to get out and stretch and not have to get right back in for another 100 miles. We got up the next morning, still tired but ready to get back on the road. We should easily get there by early evening, so we loaded up again and headed out. By the first 100 miles, our dog was already practically in our laps but we pushed her bag to her allotted spot and kept going. This got progressively worse the rest of the day, and by the last 100 miles the dog was done. No more pushing her back and for the first and only time that I can remember she growled at us just to let us know she was done with one foot by two foot space, so she rode the rest of the way in our laps in the front seat. We got to the motel in Red Springs, North Carolina, about midnight. By that time we were all done. I was so happy that the trip was over and we could all get out and rest. Chapter 11 We got up the next morning excited that we were finally here and ready to start the next phase of our lives. We drove around a little so we could see everything in the daylight. Then started looking for Paul’s house. Red Springs, North Carolina, was a very small town, so it didn’t take us long to look around. We found Paul’s house pretty quickly and he was expecting us. If you remember, he had found us a house earlier in the summer to rent and had made arrangements with the owners for us to move in when we arrived. We were anxious to see the house so Paul said he could introduce us to the owner, get us a key and show us where it was when we arrived. Over the phone it sounded too good to be true so we were really looking forward to seeing it. The house was half way between Red Springs and Pembroke in the country. It took about 15 minutes to get there and the drive gave us our first view of the area. Coming from Oklahoma, it was new and very pretty. It was flat like Oklahoma, maybe even flatter but there were huge pine trees. This was definitely different than Oklahoma. Outside the small communities of this area of North Carolina the land was primarily used for farming and tobacco was the primary crop. We were used to farming and farm communities but we had never seen tobacco fields. I was very surprised at how small they were. We past several tobacco fields and they were surrounded by tall pines, and then we came to a small drive barely visible between the pines. Paul said this was it and he turned in the drive. We could not see the house from the road because pine trees surrounded it. The drive turned out to be a circle drive and as we started the circle we got our first glimpse of the house. It was a ranch style house, which was a little unusual for the area, with painted wood siding. It looked great with a large grass yard surrounded by tall pines. Paul parked in front of the door and we hopped out anxious to see the inside. Jo and I were amazed, it was twice as big as anything we had lived in and was really nice. It had hardwood floors throughout, two fireplaces, formal dining room, great kitchen with a breakfast nook, den, huge living room, 3 bedrooms and a screened back porch. Paul kept saying he knew it was expensive but . . . we just kept saying it was great! We took the house immediately, went back into town, picked up our car, checked out of the motel and headed back to the house. All we had was what we had packed in to our tiny Pinto but it was great to unload and start planning what we were going to do with the house. Remember, all our furniture, what little we had, all our pots, pans and dishes, everything was being moved by the moving company, so we wandered around this big house and tried to think how would we ever fill it up? We didn’t have a bed so the first thing we did was go into town and buy a couple of cheap air mattresses. These should be fine; it would only be for a few days until our stuff got here. It was a great adventure, kind of like camping indoors. After the first night we realized, maybe we should have spent a little more than 97 cents on our air mattresses. We had to blow them up twice during the night. Oh well, it would be all right, the moving van would probably be here this weekend. Well, the first week went by and no word from the moving company. Not a problem, we’ll just give them a call, they are probably on the road now and would be here any day. Jo called her cousin at the moving company back in Oklahoma, our stuff hadn’t left Oklahoma yet but they were sure it would go out soon. OK, well we will just hang in and explore the surrounding area during the days and maybe get a little better air mattress for the nights. We had heard that there were great deals on furniture in North Carolina because so much furniture was manufactured there. So, after almost two weeks of rambling around in a 3000 square foot house with nothing, we started looking. We knew we couldn’t buy much but maybe we could find something to sit on. We found a beautiful couch and a very comfortable lounge chair. They were a little out of our price range but they were beautiful and. . .we were desperate. We bought them and now we had our first new furniture, a beautiful contemporary couch and a contemporary lounge chair and ottoman. We spent way more on this new furniture than we had planned so we didn’t replace the 97-cent air mattresses, surely our stuff would arrive soon. Well, to make a long and painful story a little shorter, it never did. My Dad rented a U-Haul truck and hired a friend to help load it and drive to North Carolina to deliver our furniture and the rest of our stuff. Lesson learned, beware of those super good family deals. If they sound too good to be true, they probably are. One of the first things I do when I move to a new place is assess where my studio will be. This was big and I could have used one of the bedrooms. I have done that before but over the last three years at school I had the luxury of water and a sink in the studio. Since I primarily work with water-based paint, this was convenient for mixing and clean up. The bathroom and kitchen location in this house did not allow for a close water source. This house did have a huge screened porch on the back of the house and the weather is really nice most of the year in North Carolina, so I decided to try and set my studio up there. I bought a galvanized wash sink and stand at a local hardware store. I ran a garden hose from the closest outside water hydrant. I lifted one corner of the screen and ran the hose into the porch, then hooked up a faucet. The sink came with an attached piece of garden hose for a drain, so I just ran it outside through the same corner of the screen mesh. It worked perfectly, simple and cheap. Throughout graduate school one of the things I was always concerned with was the light in the area I painted and the display wall where I hung each piece to view its progress and to photograph the final paintings. It was not just me but all my fellow students spent a lot of time and money rigging up elaborate light bars to try and emulate “museum lighting.” As it turned out the natural light on this “porch studio” was fabulous. It did make it a little difficult to work at night but the daylight was great. I was finally set up and ready to paint. [caption id="attachment_856" align="aligncenter" width="680"]Viola's - zinc plate etching In North Carolina my primary teaching duties were printmaking. That plus the local styles greatly influenced my work. These are examples of prints done during my first year at Pembroke. The smaller more intimate scale allowed for more recognisable imagery. "Viola's" -7"x8" - zink plate etching
In North Carolina my primary teaching duties were printmaking. That plus the local styles greatly influenced my work. These are examples of prints done during my first year at Pembroke. The smaller more intimate scale allowed for more recognisable imagery.[/caption] [caption id="attachment_857" align="aligncenter" width="598"]A Tisket A Tasket sm "A Tisket A Tasket" - 10"x12" - zink plate etching[/caption] [caption id="attachment_858" align="aligncenter" width="570"]Double Feature sm "Double Feature" - 12"x15.75" - zink plate etching and collagraph[/caption] [caption id="attachment_859" align="aligncenter" width="863"]Monkey See Monkey Do sm "Monkey See Monkey Do I" - 12"x18" - zinc plate etching and relief[/caption] [caption id="attachment_860" align="aligncenter" width="817"]Monkey See II sm "Monkey See Monkey Do II" - 15"x22" - embossed drawing, graphite and airbrush[/caption] [caption id="attachment_861" align="aligncenter" width="618"]Monkey See III sm "Monkey See Monkey Do III" - 17"x24" - etching and airbrush[/caption] [caption id="attachment_862" align="aligncenter" width="546"]Bezintine Jody sm "Byzantine Jody" - 30"x38" - acrylic and silk screen on canvas[/caption] [caption id="attachment_863" align="aligncenter" width="516"]Artists Father sm "Artist's Father" - 20.5"x26.5" - oil pastels and graphite[/caption] [caption id="attachment_864" align="aligncenter" width="516"]Artists Father & Friends sm "Artist's Father and Friends" - 20.5"x26.5" - oil pastels and graphite[/caption] [caption id="attachment_865" align="aligncenter" width="420"]Studio Transformation 1 74 sm "Studio Transition 1" - 66"x66" - acrylic on canvas[/caption] [caption id="attachment_866" align="aligncenter" width="558"]Studio Transformation 2-75 sm "Studio Transition 2" - 66"x66" - acrylic on canvas[/caption] [caption id="attachment_867" align="aligncenter" width="544"]Studio Transition 3 sm "Studio Transition 3" - 66"x66" - acrylic on canvas[/caption] [caption id="attachment_868" align="aligncenter" width="660"]NC Study1 cmyk sm "North Carolina Landscape Study" - 20"x24" - acrylic on watercolor paper hand stitched on canvas. As you have noticed, I usually work on a small scale at the same time I am working on the larger paintings. I use these as working studies for the larger works.[/caption] [caption id="attachment_869" align="aligncenter" width="671"]NC Study2 cmyk sm "North Carolina Landscape Study" - 20"x24" - acrylic on watercolor paper hand stitched on canvas[/caption] [caption id="attachment_870" align="aligncenter" width="646"]NC Study 3 cmyk sm "North Carolina Landscape Study" - 20"x24" - acrylic on watercolor paper hand stitched on canvas[/caption] [caption id="attachment_871" align="aligncenter" width="657"]NC Study 4 cmyk sm "North Carolina Landscape Study" - 20"x24" - acrylic on watercolor paper hand stitched on canvas[/caption] By this time school had started and I was very busy teaching and getting to know my students and my fellow faculty members. If you remember I was hired to teach printmaking so there was a lot of technique I had to brush up on. The instructor that was there before me primarily taught relief printing and that was my weakest area. The school had a single Dickerson combination press that allowed me to teach intaglio, lithography, and relief techniques and I added some screen printing to round out the curriculum. My printmaking classes were going well and the students seemed eager to learn. I started working on some prints to demonstrate techniques in class but I really hadn’t started painting yet. The painting instructor was a very “Southern” man a little older than me from Memphis. His work was nothing like mine, in fact no one here, student or faculty, worked anything like I did. I was definitely unique here. As an undergraduate and graduate student I was strongly influenced by my teachers and the current trends in contemporary art as seen in national publications like Art In America and Art Forum. I naively thought everyone in America that was interested in contemporary art was doing work similar to what I was doing or what I had seen from my fellow students. Boy, I was wrong! The painting instructor at Pembroke worked in a very controlled surreal style, almost a fantasy style, with landscapes as his primary subject. Most of the students also worked in a surrealistic style. I was very surprised, I thought Surrealism had pretty much died as a popular style and was only being used by Salvador Dali and a few fantasy illustrators. Well let me tell you, Surrealism was alive and well in North Carolina and it wasn’t the cool, funny, and clever Magritte Surrealism, it was the crazy, melty clock Dali Surrealism. This definitely had an impact on me. I didn’t particularly like the work I was seeing but I was the new guy looking for approval. It was much easier to adapt images to my prints and drawings so that is where I started, trying to mix my styles with what I was seeing stylistically here in North Carolina. I quickly moved to a larger scale with my paintings. I painted and struggled for a couple of months until I finally lost it on a large painting that just wouldn’t come together. It was stiff, cold, lacked emotion and energy and most importantly, it wasn’t me! In frustration I put the painting on the floor and in anger started pouring paint over everything I had worked so hard and long on. It felt good and I worked at a frantic pace, threw down my brushes and went inside. I went back out the next day and realized everything that was bad with the painting now was better – much better! I learned another important life lesson. You must be true to yourself, you can’t be someone else. Revitalized with the new approach I started a new series of work that I called “Studio Transformations.” They were loosely based on the North Carolina landscape, particularly the view that surrounded me in my porch studio. Jo and I settled into our new “adult” lives in North Carolina. We both worked on campus so we rode together every day. On the weekends we explored the surrounding area. We made some great new friends and really enjoyed our time there. Our new friends were from the area and showed us around on several trips around the state. We bought some nice 10-speed bikes and rode them around our area. It was very flat where we lived which was great for biking. The state was beautiful with the beach and ocean on one side and mountains on the other side. All and all we loved North Carolina, but Jo and I wanted to start a family and the area we lived in was very rural with a pretty bad secondary education system. We really wanted a little better school system for our future children. Jo got pregnant early in the semester of my second year. We had our first baby, Brenan, in May. He was beautiful and perfect and yes, he changed our lives!  About this time, I got a call from my friend Dalton Maroney. Dalton was teaching at a small private college in Sioux City, Iowa called Morningside College. He said they had an opening for a painting and printmaking instructor and wanted me to apply. The idea of working with Dalton again was very appealing and also it included teaching painting. That combined with the possibility of a better school system to help raise our little boy was enough for me to apply. They offered me the position with a rank increase to Assistant Professor. I talked it over with Jo and we agreed that it seemed like a good opportunity so I accepted and started planning the move.
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Chapter 2

Chapter 2 I am back at OU but things are a lot different now. There are two big differences this time, one, I am not alone, I have a partner. and two I have a more open mind about what Art is. I came back thinking maybe I should listen and pay attention to what my professors were trying tell me. You know, I was now 20 and out of my teens so I didn’t know everything like I did at 19. Isn’t it funny how much your intellect deteriorates as you age; I am now 64 and know absolutely nothing. I enrolled in a full load of art classes including my first printmaking class. It was an etching (intaglio) class taught by John Hadley. He was another young professor who had a huge impact on my development. I had John previously for a drawing class and would eventually have him for several classes including painting and advanced drawing. Unlike Jack, he was not my buddy, best friend or encourager, he basically came in class everyday and figured out a new way to tell me I sucked. I could never please him. I guess I was a bit of an over achiever and this really frustrated me. After teaching for over 30 years, I now know, this was his unique way of motivating students. It worked on me, the more he would rag me about my work, the harder I would work. I was determined to show him! I really enjoyed the technical aspects of printmaking. I just liked the process. It was hard work but there was no other way to achieve the look of hand inked and printed plates. I later took lithography and screen printing and enjoyed all of them. Each had its unique qualities. I enjoyed the printmaking process so much that I eventually changed my major from painting to printmaking. I never stopped painting, but I did share time with printmaking during my undergraduate studies. I think because there was more emphasis on drawing at that time in printmaking, I started doing more drawing, but the drawing I was doing was really more like painting. I know, very confusing, but OU at that time was very liberal in its approach to Art. They really didn’t like labels so all the classes seemed to merge together. Many would argue that this lack of structure didn’t give the students enough preparation in the fundamentals but it seemed to work for me. These drawings that I was doing were big. OU’s philosophy was very avant-garde; they really pushed you into large-scale work. This is something that has stuck with me. Even when I was forced to work smaller because of lack of space or because of limitations created by a technique, I always felt like my work would have more impact if it were larger. The smaller work always feels like sketches or color studies. Another thing that OU encouraged was the exploration of non-traditional materials. In an effort to go bigger with these drawings I started looking for larger paper. This led me to commercial offset printing paper. Not only was this paper larger, it was much cheaper. This was definitely a positive thing for a student with almost no income. In addition to paper, I was looking for materials to draw with; this led me to aerosol spray paint. [caption id="attachment_767" align="aligncenter" width="756"]"Kissing Stars" - graphite & airbrush, influenced by John Hadley "Kissing Stars" - graphite & airbrush, influenced by John Hadley[/caption] [caption id="attachment_768" align="aligncenter" width="532"]"Stars & Stripes" - graphite & airbrush, influenced by John Hadley "Stars & Stripes" - graphite & airbrush, influenced by John Hadley[/caption] Spray paint was being used in other parts of the country but mostly for graffiti, which had a very negative connotation publicly and generally in the art world. These drawings were mostly ebony pencil and spray paint. They were big, bold and beautiful. . .but definitely not “pretty pictures.” Unfortunately, none of these survived but I do have a few examples of smaller combination drawings where I used printmaking techniques and the airbrush to achieve a similar look and style. These examples are not as bold as the larger works but they are important because they introduced me to the airbrush. I continued to paint the more traditional still lifes and landscapes in watercolor and acrylic but now they held a different purpose in my Art. Remember, I mentioned earlier that I had established a relationship with a small gallery in Norman. Well, I continued to paint for profit. This gave me a little extra income, which we desperately needed. When we first moved to Oklahoma City, Jo had a secretary job in Oklahoma City and I commuted to Norman for school. After the first few months I realized that it was very difficult for me because I needed more time at night in the classroom/studio to complete my work. So, after talking it over with Jo, she agreed to move to Norman and she would make the commute. Did I mention how lucky I was with all aspects of love number one? Finding an apartment in Norman or any college town is usually not a difficult task. We quickly found one at one of the larger complexes, packed up our stuff and made the move. [caption id="attachment_770" align="aligncenter" width="343"]Early prints and drawings influenced by John Hadley "Fat Men 3" - etching Early prints and drawings influenced by John Hadley
"Fat Men 3" - etching[/caption] [caption id="attachment_772" align="aligncenter" width="398"]"Egg Layer" - silk screen "Egg Layer" - silk screen[/caption] [caption id="attachment_774" align="aligncenter" width="370"]"Yesterday" - silk screen "Yesterday" - silk screen[/caption] [caption id="attachment_775" align="aligncenter" width="573"]"Inner Conflict" - etching "Inner Conflict" - etching[/caption] [caption id="attachment_776" align="aligncenter" width="808"]"Out Of The Blue Of The Western Sky" - etching "Out Of The Blue Of The Western Sky" - etching[/caption] [caption id="attachment_777" align="aligncenter" width="613"]"Egg Layer 2" - silk screen "Egg Layer 2" - silk screen[/caption] This move proved to be very beneficial for me. It allowed me more time to develop my Art skills and concentrate on class projects. At this time my classes were a broad mix of beginning and intermediate Art classes, including beginning classes in 3-D design. I had a young grad assistant named David Holsonback for this foundations course. He was young and energetic and influenced me greatly in the exploration of this new and exciting form of expression. Another strong influence at that time was a professor by the name of James Flury. He was new to OU and had a show of his sculptural work in the museum during the fall semester of ‘69. The exhibit consisted of glass two-way mirror boxes with multi-colored neon inside. The bent neon tubing illuminated the inside of the boxes and the mirrors repeated the shapes infinitely. This exhibit was amazing; I had never seen anything like it before. I immediately started trying to incorporate his ideas into my 3-D Design projects. The final project was a free project that allowed me to use some of these materials. I created some egg-like shapes from wood on the lathe in the wood shop, assembled them together with dowels and glue. I then painted them flat white. I found a small electric motor at a thrift shop that rotated a shaft at a slow speed. I built a shallow box with a small hole in the top to hide the motor and allow the shaft to go through. I attached the painted wood sculpture to the shaft so it would rotate. I covered the entire structure with a ¼ inch smoked glass cube. This piece was the most successful of the two or three pieces of sculpture that I did and eventually won a purchase award. I enjoyed working 3-dimensionally and these instructors had an impact on my thought process and me, but painting was really where my heart was. [caption id="attachment_779" align="aligncenter" width="683"]Early three dimensional projects influenced by David Holsonback and James Flury "Organic Movement" - glass & wood Early three dimensional projects influenced by David Holsonback and James Flury
"Organic Movement" - glass & wood[/caption] [caption id="attachment_780" align="aligncenter" width="749"]"Thanks to Jim" - wood & steel "Thanks to Jim" - wood & steel[/caption] [caption id="attachment_781" align="aligncenter" width="760"]"Arrow & Soft Forms" - metal, wood & canvas "Arrow & Soft Forms" - metal, wood & canvas[/caption] My major at this time was Advertising Design and it seemed to me my Ad Design classes were my weakest. Ironically, I would eventually end up making my living in Graphic and Advertising Design; spending more than 35 years of my career as a professional designer. It seemed that on every project I would have what I thought was a brilliant idea that involved a massive amount of time, work and process to complete and when we presented our finished work, some of my fellow students would have a better solution that was simple and direct. I now know, I was putting all the emphasis on the process instead of the concept. I was still trying to make “pretty pictures” rather than solve the problem. I was what I now tell my students “a graphic decorator rather than a graphic designer.” By the time I was a senior, I had decided to pursue graduate school, so I changed my major to printmaking, which at that time was called Graphics at OU. I had enough hours to declare my major in Advertising Design, Painting or Printmaking, but I had a 4.0 overall GPA in Printmaking. I thought this would enhance my ability to find a good grad school. If painting was where my heart was, printmaking was where my effort and work ethic was. The technical skill level to master intaglio, lithography and screen-printing took a huge amount of time and work. It did eventually pay off, not in a graduate school but with my first teaching job. After graduating with my MFA in Painting, I got a job in North Carolina as a printmaking instructor. [caption id="attachment_782" align="aligncenter" width="760"]"3 Fingered Star Puffer" - graphite & airbrush "3 Fingered Star Puffer" - graphite & airbrush[/caption] [caption id="attachment_783" align="aligncenter" width="410"]"Climax" - graphite & airbrush "Climax" - graphite & airbrush[/caption] [caption id="attachment_784" align="aligncenter" width="530"]"UIntitled" - airbrush & embossing "UIntitled" - airbrush & embossing[/caption] [caption id="attachment_785" align="aligncenter" width="443"]"Visual Social Statement" - ink, graphite & embossing "Visual Social Statement" - ink, graphite & embossing[/caption]
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