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Tim OBrien
If Animals were like Humans
posted:
Tortoise Acting Human

Recently I was talking to my soon-to-be former students about sketchbooks. They are so very important and what comes out of them is not only future pieces, but perhaps insights into what we were feeling at the time.  Artists jot down ideas and some sketches are just winners and we go to those first, others need to sit a while, their meaning not clear yet.  Perhaps an element need to come into focus, the right model enters your life or some other aspect changes that 'green lights' the image.  
The thumbnail for this was sketched while waiting for my son to come out of surgery last summer.  Grim, I know, but looking back now it's easy to see, while I had no idea what I was sketching at the time, that the tortoise was lighting his own back on fire, hence, we were doing this to our son.  I know both my wife and I were feeling terrible that day, and it all comes out in the art.
A strong image can work in other ways too and I actually thought this image was about a tortoise causing his own demise, an oblique reference to climate deniers and other that imperil the planet and it's species.
When the RJD Gallery (Richard J. Demato Fine Arts Gallery in Sag Harbor) asked for me to participate in a group show to benefit the Southampton Animal Shelter, I pulled out the sketch and offered this painting titled, Tortoise Acting Human, oil and gouache on panel.  Also in the exhibition and sale is a piece done several years ago titled, Dark Horse, oil and gold leaf on panel.

Southampton Animal Shelter Foundation – "A Magical Menagerie”

May 9th - May 21st
RJD Gallery
PO BOX 1994
90 Main Street
Sag Harbor, NY 11963
Rough sketch

Watercolor done at the end of 2014

Close up or the poor fellow

Dark Horse, 2004


Bob Dylan 2015
posted:
Bob Dylan,'Shadows In The Night' 2015

When we come upon an important musician for the first time, it doesn’t matter if the music is old or new.  This new relationship begins pure and we can take the music in with our fresh ears and experience it as if it was just released.  When I was in college I started to listen to Bob Dylan.  Of course, from the radio I knew the hits, but delving into albums (you know those things, kids?) you can hear a deeper theme of the music and also if an artist has a large catalog, you can binge listen too.
The first album that I delved into was Blood On the Tracks.  It still is a perfect piece of art.

I mention Bob Dylan sometime to my students.  I say that they are all in their early 20’s and I ask them, “when is it time for you to make meaningful art?  How old do you have to be to make the meaningful art of your lifetime?”  It’s a great question to ask a student because I think many feel that this time is off into the future.  But success comes when it does, when the time is right and the skill meets the blind ambition and no time is more like that than one’s early 20s.

Bob Dylan, America’s self-made myth, started manufacturing a personality and performing style in his early 20’s and before he was 25 had made a huge impact in the world of music, of writing and performing.
At 26 he left the music scene, or so we thought, following a motorcycle crash.  Not idle for long, Dylan re-booted himself and began working with the Hawks, or “The Band” to record a ton of music that would eventually become The Basement Tapes.  He re-emerges and has tried every kind of music and is always interesting.
 
This brings me to how I think of Bob Dylan now.  I use his story to motivate my students to do meaningful work NOW, but I’m an artist who did many pieces that defined my career beginning years ago.  Today I look to Dylan for how he keeps at it, keeps trying new things and loves the work.  The work has given us such rich music, so many powerful songs and poignant phrases and melodies.  He’s an American treasure.

I was asked to do a portrait of Bob Dylan for AARP Magazine, the only place that Dylan agreed to do an interview about his new album ‘Shadows in the Night.’  The album of standards made popular by Frank Sinatra is being met with great reviews.  as for choosing AARP for his only interview, in his own words, he felt that this album “would be more appreciated by people who have more wisdom and experience in life.”
As Dylan once sang:
“Ah, but I was much older then, I’m younger than that now.”
A spot illustration of the Editor in Chief, Bob Love interviewing Dylan. I was more worried about this spot than the main portrait.

The editor in chief, Bob Love did an interview about HIS interview on NPR...here is the link.

 

Michael Brown for Esquire
posted:

This summer I was troubled, as were many other Americans, when an unarmed black man, Michael Brown was killed in Ferguson, Missouri.  This followed the case of Treyvon Martin and was followed by Eric Garner's choking death (recorded) in Staten Island. 
No matter what you feel about Michael Brown or other recent deaths of unarmed black men, 2014 was the year it came to a boiling point.
Just prior to the verdict in Ferguson, I was asked to illustrate Michael Brown on the ground.  For me, the awful video of his body prone on the pavement, in the hot sun was hard to watch.  Imagine the pain of his family seeing him there for almost 4 hours. Writer, John H. Richardson wrote a piece for ESQUIRE about the incident and how it endures through the eyes of his father, Michael Brown Sr.
Rough sketch based on the low quality long distance photograph.

This is the powerful layout in the magazine. Thank you to Christa Guerra and David Curcurito for the faith in illustration.
In order to do this piece I had to shoot reference and it's such a removed process to ask someone you know to pose for a piece like this.  In the end I hope it made more real something only seen in grainy quality images.
Years ago I did a similar clarifying piece in responce to Neda being murdered in Iran.  It's a foresnic form a portraiture.
Je Suis Charlie
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animation by Tonka

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