Achluophobia part 8

 

I haven't been to the Studio since my marathon cutting session on Sunday, and I have no deadline for completing this piece, but I still want to get going on it.  And today I have some time, so it seemed like a good day for a trip to Ocean Grove.  It wasn't until I was on my way there that I realized I didn't have a rent check for Molly, so I'll have to make another trip.  I didn't bring any discs with me today, but that was intentional, a lack of desire to carry them.  I'll have to rely on what I have there.

After dropping off my stuff, I went to the office.  Elyse confirmed that they had about 200 visitors the day of the Open Studio, and they had a lot of signs up, which helped get some people downstairs.  She doesn't know if the music or food lured people in or not, and may not have any way of finding out.  Her reaction was that she thought the food was successful, and she like the opening acoustic music better than the rap DJ (too loud, perhaps inappropriate), so that may change.  She wasn't crazy about the theater stuff, but the people in attendance seemed to like it.  Overall, it was seen as a successful event, so there may be more such things in the future.  We talked about the possibility of bringing in more free-spending collectors next time.  I have no problem with that, but it's not so easy to find such things.  I remember a Cuban print show we tried to organize at the PCNJ years ago, but the representative yanked it away from us for not bringing in a large contingent of collectors to buy everything.  

On to Andrew.  I used my photo ID badge to get in today, but once again it wasn't easy.  Took 3 tries before the code worked, so I got in, but I thought it was worth reporting.  Andrew agreed, so he took note of my situation, and did say a few other people reported problems, so he has some information the next time he talks to whoever sold them the materials.  Meanwhile, he asked me about a motion detecting device in the Studio.  Never saw any such thing in there, but the company says they installed one, and the building may be paying for it, so it's worth investigating.  No need for any such thing in our space.  The only lights we have are on light switches near each door, and I don't recall seeing any such devices. 

On to the Studio.  From the small selection I keep there, I selected Bob Marley's live album Babylon by Bus, which I have written about back in October of 2021.   I decided to continue with that main wall, cutting out the rest of the mortar between the bricks on the right side, and the rest of the tympanum above the door and the brick work arch above the door which I guess supports the weight above it.  Now the majority if the image is done, though I still have to deal with the bricks themselves, the furnace doors, and the board attached to the wall.  I could have done more, but my cell phone chimed with the low battery signal, so I decided to go home.  I stopped back by the office to let Andrew know I found no motion detector, and Kaitlyn let me know she had actually seen Molly recently, and got a photo of her for an ID.  Well, that's something.  What I got done of the block can be seen below:

Next up is either the bricks themselves, the furnace doors, or the wooden board. I'll figure it out when I get there. 

Achluophobia part 7 plus Open Studio- updated

Today was the rescheduled Open Studio event at the Jersey Shore Arts Center.  I figured if I got there early  I'd find parking in the front (only 18 participants listed on the postcard), but getting there as it was beginning could be a problem if visitors came.  So I left around 10:30 am, and got there around 11:00 am, or about an hour before it was scheduled to begin.  Lots of cars parked by the building, but lots of room in the front lot.  I used two trips to bring everything inside, which gave us problems with the new door lock system,  meaning it didn't work so well.  Took 4 tries before the door opened on my first trip, and 2 tries on the second trip.  But eventually I got in.

The reason I was there so early on a Sunday was the Open Studio event.  We had one of these last year in connection with the tenants show, but this year there is no show.  I did bring a few pieces of art with me in frames, but not much, and that I carried down to the Studio.  I didn't want to start cutting my block yet, so I used the time to organize the space a little, and to sharpen my class tools, using the sharpening stone I brought to do this.  I had brought both my CD cases with me, in case Molly was there and to give her more options.  However, all my listening was from the Jazz/Blues set, so I started with Duke Ellington, and played by discs of T-Bone Walker, Buddy Guy, and Robert Cray, all things that I have written about in the past.  

Around noon I started cutting my new block.  For this I used my good tools, sharpened at home a few days ago.  As is my custom, I started by cutting out the border first, the went on to the inside of the piece, which is a lot more complex.  I don't know how many people came through the first floor, but it was probably a lot.  From my space I could see cars parking and leaving from the back lot all day.  We had new signs put next to our doors (my door at least) to make it easier to find the spaces, and I had both doors open.  I had handed out some postcards and sent some emails, but had no idea how many of those would show up.  Having something to work on would keep me busy no matter how many people came.  

One of my earliest visitors was Sandra Foley, who was checking out all the Studios and taking photos of what she found.  She got this shot of me holding my just started block.  (as you know, I am not a selfie kind of guy, so you know I didn't take this photo) Part of this was to promote herself as a photographer, @fashionhauntsphotos.  Either way, I got this photo from her the next day and it's a nice one.

I kept track of the number of visitors I had over the 5 hour event, and it turned out to be about 50, which is a pretty good day.  Some were there specifically to see Molly, but she never showed.  Too bad, as she has a job offer waiting for her, a student from one of her early etching classes there in the Studio.  (she wants to print an old plate for an upcoming show)  It's Molly's press, so it's up to her.  This etching student remembered me, as back then I had told her about a split complement thing she had going on, which went over her head at the time, but with more education she realized it was a wise comment. Others realized she wasn't there and didn't even come in, so I don't count them among the 50.  We did have a few people who had been part of our critique group, people who live there in town. One, Harriet, I had invited.  Another, Michelle, I hadn't sent anything to, but I am always happy to see her.  Her mother was there also, who had organized a large art thing around town several years ago, which included me teaching a workshop with linocut, right there in our space back when I had tables available for that.  (her mother said that both my class and the whole event were popular and she had requests to do it again, but found it too much work) 

I had invited some former students as a last minute thing (I didn't know if they were on the mailing list for the JSAC or not), but the one who showed up was Nellie, who I had shared the information with a few days ago.  She enjoyed a recent silkscreen class, but still wants to do some more woodcut, and lately has been doing a lot of head and figure drawing, which I consider a valuable preparation for all art that follows. 

There was one former high school student from the old building, and many who came through were amazed at how much light we had and how inviting the room was, especially compared with our dark and bleak hallways.  A few got lost wandering around those as well.  That's why we painted yellow lines on the floor- to help us find our space. 

A lot of people who came through didn't know much about printmaking, especially relief, so I showed them one of the recent proofs of the Love in Vain print and the block that was used to create it.  Lots of astonishment at my ability to work backwards (I'm used to it, and cutting takes the same amount of time, forwards or backwards)  Also a lot of comments about the level of detail in my work.  I like the details, fun to cut and see in the final print, so for me this is what I want it to be.  Also some comments on woodcut verses linocut.  I admitted I have tried both and prefer woodcut- it's harder to do, but the effect wood has on my tools and drawing style makes the extra effort worth it.

As for the new block, after cutting out the outside, I did the inside, especially on the left side of the block.  This was the two figures, the wooden door, the shadowed hallway, and the mortar around the bricks.  I had a lot of people come through asking questions, and figured they were more important to deal with today.  How it looked at the end of the day can be seen below:

So it was a very busy and productive day.  Could this lead to more classes, sales, and exhibitions?  Maybe, and maybe not.  Hard to predict these things.  But I got a lot done, if you look at the pile of sawdust and wood splinters that resulted:

Later tonight I will send Molly an email, letting her know about the good crowd we got, people she knows, and that etching commission that she may have. (a note was left for her)  And maybe she'll let me know what she is up to these days.  

Achluophobia part 6

 Over the weekend we got the official email telling us about the new ID locking system for the building in Ocean Grove.   System seems logical enough, but I had some questions about it.  For example, we typically unlock the front door so that students in classes can come in.  Can we still do that?  And do they have a plan for what to do about openings and receptions?  We have an event coming up in less than two weeks.  And my code number- is that a 9 or a 4 at the end?  Looks more like a 4, but I don't know.  

So when I got there today, I had a lot of questions.  First up was Elyse, a question or two about the updating of the website.  I had decided to change the number of years in my biography, to account for the additional years since I first wrote it. I also noticed a spelling error on the website page about me, and in the copy in the bio.  Arrabbiata was spelled ARRI, which makes no sense in any language.  I thought I made the changes, but I didn't know.  I was sent a Word document and changed it as requested, but the new title I gave it was not reflected in the attached file, yet it said on my laptop that is had been modified.  So I sent an email saying what I wanted to change, and no idea if I had.  Elyse understood what I was requesting, and said it was already done.  I'll leave it at that.  

As for my door questions- that would be Andrew, who was also in.  He wasn't sure about the number of my ID either, so looked it up and it was a 4.  Made sense, since that was how I had gotten into the building.  As for opening the door for classes and events, they had ideas for both.  Once again I was satisfied.  On my way in I had stopped to drop off things in my space and saw evidence that Molly had been in.  But I doubt she has an ID yet (Kaitlyn confirmed she still didn't have a photo for her), so we hope she has a way to get in.  In any case, she signed the lease, so we are okay there.  

Questions answered, I got to work.  Brought the rock/pop book today and for no particular reason, I selected my Gun Club disc,  with the whole Fire of Love album, and as many from a live disc as I could fit on the rest of it, which you can read about on the blog back in November 2019.  Not much actual work to do, but there were some changes to make.  For example, although the new perspective generally held up, I counted and found 16 rows of bricks on the left side of the ajar door, and 17 rows on the right side.  It may be that no one would notice, but I had noticed, and so I decided to make the changes now before I started cutting.  I wanted to redraw the bricks anyway, and now it was better.  Updated the woman in the doorway and the hallways a little.  Added a flyer on the board in the front hallway, with a tiny version of my logo.  Results are below:

I think that's all I need to do at this point. If I want to change it further I suppose I can, but I think it's ready to go.  It looks like a dark and scary place.  I'm not afraid to be down there, but some people seem to be.

Memories of the Past

Today the paper included a story about a recently discovered painted advertisement in Long Branch on the side of a building, which advertised Coca-Cola.  Large painted ads like that were once common, and some remnants are still out there, such as a Thom McAnn shoe ad on top of the side of a building in Asbury Park- they had owned the building back then, and put their name on the building in those days, and though they are long gone (new tenants have come and gone over the years), the painted name remains as historic, and I think it's still known as the Thom McAnn building because of that famous sign.  The Belmar Arts Council has been involved in a number of wall based paintings, art more than commerce, and I either participated in them or documented them for the blog, or both.  Some of these are gone now.  For example, one celebrating Belmar was on the back of the Friedman's Bakery building, which was torn down years ago.  I participated and documented another mural, Reflections of Belmar (a beach seen partly reflected in sunglasses worn on a giant portrait that filled the wall), which was on the side of a building that has housed a series of food places and overlooked a gas station, which was overpainted with white a few years ago.  If you want to see it, you can see the mural in progress at the BelmarArts blogsite, starting in July of 2011.  Once in Italy I photographed a faded wall sign painted in the days of Mussolini, and left up as a reminder not to ever let anyone rule the country like that again.  I believe that photo is in storage, like most things I have owned. 

The reason that this Coke ad was recently discovered is that it had been hidden by the building of a very adjacent factory building, just torn down recently.  That old factory building I have been inside, as it also once housed SICA, the shore art gallery and studio space that was founded to bring NYC style art to the shore area.  The board decided to sell that location and move to Asbury, a short walk from my Studio, back in 2011.  I know, because I helped paint the new space on Cookman Ave, in exchange for some pizza, which always gets my attention.  Unfortunately, that location closed in 2013, ending the gallery.  My first thought upon reading of the end of that old factory building in Long Branch was whether or not SICA founder Doug Ferrari knew about it, but then I realized he had actually died back in 2017 (see November of that year on this blog for the full story of our interactions over the years), and thus no longer cared.  (In between he had resurfaced at the Arts Guild in Rahway, and had curated Molly and I into a show there once, his last act in Asbury.)  The tearing down of the old factory (which had housed a lot of different businesses over the decades) is to make room for something else, and has now revealed a vintage sign.  Will it be saved?  I guess it depends on what needs to be done.  Would there be an effort to repaint the sign. or leave the painting as it is?  Will the sign even be seen once the new project is built, or is it to be covered up again, and its rediscovery renders moot?  I have no idea, but it's a story I have links to, so maybe an update will appear here someday.

Achluophobia part 5

 

When I arrived at the building, I decided to try my new photo ID and code to open the door, but still no luck.  And my key didn't want to turn in the lock either.  So I went with the third option, go through the basement door directly into the office.  Andrew was there at this desk, so I told him that my ID badge still wasn't working.  Turns out that it wasn't a problem with the way I was doing it, but that the system hasn't been turned on yet.  Probably next week.  He did review the process for me, and I was doing it correctly at least.  I was told that the key still should have worked.  Not a concern of mine right then, as I was already in the basement, and I just went to my Studio.

For music I had brought with me my rock/pop book of discs, and for no particular reason, chose my Sharon Jones and the Dap Kings disc, which has the entire 100 Days, 100 Nights album, plus as much as I could fit of a bonus disc that came with it, The Binky Griptite Ghetto-Funk Power Hour, or over an hour's worth of music.  I last wrote about this on this blog June of 2019.  That was all I would need.

I wasn't satisfied with my walking figure in the dark hallway around the corner from by brick wall, so I spent the past few days at home going through another source of figure photos I have, the Belmar Arts blog, with 10 years of photos I took myself.  Surprisingly, there were few for me to use.  I needed a walking, facing forward character, and most of my photo figures are standing and backwards.  Found two I could use, and sketched them in my sketchbook, good enough for source material. One of these was chosen.  

I looked at the block and decided to start by making the new hallway figure the same size as the old one, so head up by the pipe and feet more or less where the other ones had been.  Also pencilled in where bricks would be for wall behind the figure, at least the part that would be lit up by the light in the hallway in the foreground.   But when I looked at the whole thing, I did not like the perspective of the scene- not the slightly open door seen in the front hallway, and not the female figure in that ajar doorway.  This would have to change.  As a start, I changed the angle at the top of that ajar door, and redrew that female figure, bringing it up some higher in the space.  (as the first time, drawn from a sketch I made from a stilled scene in a 60's era music video)  It was definitely better.  As for the walking figure, made him a little smaller.  I don't know if this is the final version, but this can be fixed.  All pencil right now anyway.  I also darkened the border as it will appear in the final version, to get an idea of black and white balance as it will be.   Below is what it looks like now:

I would say that this version is better than what I had before, though as I have written, I may want to make some changes in perspective before I start cutting it.  I have a few weeks before then, so plenty of time to look at it and figure it out.

On my way out, I decided to exit through the first floor and the main door to try my keys.  My regular exterior key went into the lock, but still didn't turn.  However my interior key (used inside to unlock the door for classes) did turn and open the door.  Tried it again, and it didn't.   But put the key back in, jiggled it a bit, tried it at different depths, and got it to work.   Seemed a bit like what was going on last spring when the keys didn't turn unless you played with them a lot.  Good thing this electronic thing will be happening soon.  

Achluophobia part 4

 This week is Holy Week in Catholic circles, but outside of this, I don't know what is known.  In my experience, very little.  So I decided today was a good day to go up to the Studio and find out if there are any plans to close the building for any holidays this week.  And to get some work done.

So that is what I did in the afternoon.  Drove up to the building after lunch.  Saw Andrew in the parking lot, who let me in the door and confirmed that there were new photo ID badges that could open the doors instead of the keys I have.  So after dropping off my stuff in my space, I went to the office.  First I found out that not only aren't we closed for any days this week, there was no one in that office that realized any kind of holidays this week.  They are even open on Easter Sunday, unlike the supermarkets in St Louis, as I found out long ago.   Then Andrew came in and gave me my new ID, along with the code that will operate it, and explained how to use it.  Okay.  I let Katy know that all the photos I found of Molly are all action shots, no portraits, so she'll have to get together with her to take the right kind of photo.  And with that, I got to work on my latest block.

Was in a mood some mellow soul today, so I put on the copy of U Ready, Man? by Hobex that I had kept in the Studio, but was now in my pop/jazz book.  I wrote about this album here on this blog back in November of 2021 if you want to know more.  What I realized today is that the title comes from a barely heard question during the unlisted instrumental finale on the album.

I started by looking for figures in a photo reference book I keep there, a directory of commercial photographers I believe.  I put on one in the hallway for now, but I may look elsewhere for something better.  The problem is that most of the images in the book look very posed, which I guess makes sense for what they are, but I'd rather have something more casual.  So I may look for a more suitable reference elsewhere.  I also finished the figure inside the door, mostly just an art job, drawing what I know from years of figure training and general observation.  Also marked in some value in the rest of it.  Here's what it looks like now:

Again, nothing is firmly decided, but I gives an idea what I have in mind, and will hold the places until I make them better.  I still have 3 weeks before I start cutting it, so plenty of time to fix the drawing and get it ready for public cutting.

Tried out my new ID door opener before leaving, but I couldn't get it to work.  Either I was given the wrong information, or I remembered it wrong.  Good thing my key still works. I'll try it again next time I go, and if it still doesn't work, ask at the office.