Here are a couple pieces of mine from the past couple months that illustrate how motifs, elements, and composition often reappear for totally different topics in my work . I used to shy away from this until I realized that we all have our re-occurring cast of characters, favorite colors, and unique mindset.
These pieces also show more of the line drawing that has been creeping into my work (to the horror of those who can actually draw). I'm enjoying the process and intend to bring collage and drawing together even more seamlessly in future works.
The first of these was completed a few weeks after we lost our dear 4 legged friend Chip (see previous post but bring kleenex). Cameron Woo, the publisher of Bark Magazine, contacted me by way of Susan Scandrett to do apiece for a story about the foundations of the Humane Treatment For Animals Movement in the late 1800's. It turns-out that the movement initially was focused on livestock before expanding to include dogs and cats. The key element here was that the movement was founded on the notion of empathy, seeing through the eyes of the animals.
Detail of doggy drawing
The second piece is the cover for Emory Law Magazine. This is the second consecutive cover I've done with AD Winnie Hulme for the publication in what has so far been a wonderful work experience. This piece was about a student who travels to India, discovering a land rich with a bizarre mix of natural beauty, pollution, overpopulation, and human rights abuses. Through the experience she becomes a more mature woman with a greater understanding of the world we often ignore.
I rarely get called for portraits it seems, so I was surprised and a bit nervous when the call came from Arts section AD Corinne Myller to do a pretty straightforward image of the author for the review of his new book, "The Associate".
It was odd for me to not have a conceptual element in the image so I at least snuck in a little noir into the background, hinting at the shadow world of law and corporate culture that Grisham's novels inhabit.
It seems like almost all of my figures in previous works needed to be made generic enough that they represent no single person so it was a bit scary to think about achieveing a likeness. When I have gotten calls in the past it's mostly been requesting that I work with an existing image, manipulating it etc, but still always working with the original photo. I've always resisted that, with a few rare exceptions. The final below is comprised of line drawing, my cadre of textures, and a bit of watercolor thrown in for good measure. The figure in the back has a collaged shirt made from an old underwear ad from the 70's. It was a fun challenge that I hope to do more of as I find my way
I'm not in the habit of showing sketches that get rejected, but I was quite fond of this one for The New Yorker. It reminded me of how irrelevant Bush became in the months since the election - like a chair no one ever sits in.
Wyeth, 91, died in his sleep Thursday night at his home near Philadelphia, according to Lora Englehart, public relations coordinator for the Brandywine River Museum in Pennsylvania. (complete article here)
Attached below is one his most famous pieces entitled, "Christina's World". His depiction of light has long been a source of inspiration in my own work. Also below is a pen and ink done about 10 years ago by my father, Joseph Stauffer, who was profoundly moved by Wyeth's depictions of trees. He is visiting here in Miami for a couple weeks and was saddened at the passing of such an extraordinary artist.