Card14UG copy

Below: ~36 X 48″. What does a painting that Catherine wants to name something like “A mortally wounded Grendel retreating to his lair beneath the bog” look like? It looks like this:


Below L:  “Summit on the Ganges.”  See the two seated men in business suits? Stupa in background.

Below R: Mai Tai. Several artists seem to like this one. Both 2 X 4′

gangesMai Tai

Below: ~ 8  X 16″ “On the Wall”


Below: This one will not hang in the Unsettled. Destined for T or C near Nolan’s work. I like the more neutral pallet that lets the brush work hold it together, but not too tightly.


Click to enlarge ’em. Ciou, CC.


14 thoughts on “Unsettled

  1. Amazing stuff going on here, once again, CC. I am now wondering what the real title to the top one might be. ‘Forbidden City’ ????? I do love the way Catherine’s creative mind finds things in paintings. These look great. If I had to choose a fav, it might be the Forbidden City / bog one or the Ganges one. We are going to try really hard to be at your opening this Saturday. Will be fun to see these in the flesh. Bravo.

  2. Hi CC…great works for your exhibition. Well done. I like Mai Tai best. Your work is so complex…interesting! cx

  3. I might start a thread on titles sometime. I believe that Duchamp called titles “another color.” I’ve heard titles described as “anchors” or “window” into a work of art. Paintings sometimes come to be named by collectors. Some artist are content with “Untitled # . . . ” some artist consider titles an expedient for cataloging. I’ve had at least four titles suggested for work in the Unsettled show.
    Sometimes H and I will just start calling a painting/collage by a certain name as you might some person that you start to notice around town but never really meet.

    I like one or two word titles. Sometimes I am tied to a title, but my attitude is generally “label it as you please” If you’re going to hang it in your gallery and care that much about it. If it comes back to me, I’ll call it what I’ll call it. Catherine has a painting that is very clearly “Hess Terrace” to me and H. Catherine calls it “And the band played on” I have no idea why. It’s the work that matters.

    Nolan, hope that you and Winkler can make it. Adrienne, when I look at “Grendel . . . ” or whatever, I see those combed archs and think about standing next to you at the Artisan supply in Santa fe excitedly looking at the silicone combs. Have you found a use for yours yet? CC

  4. I love your reference to Duchamp. Nolan’s titles are certainly like another colour, aren’t they?
    I think the right title can sensitise one to an artwork and draw one in.
    I have a rather lovely little painting of a small child holding out her red dress. The artwork was in a rather important gallery. One day I went to the gallery to find my painting labelled – ‘Put on your red dress baby’!…much to my amusement. cx PS..it didn’t sell!

  5. Titles…I love them but am not articulate enough to come up with good ones so I rely about 75% on song lyrics and poetry phrases…. But, I always find one that suited what I was going for so it works well for me. Winkler got me working harder to title stuff years and years ago. Also, another painter pal once said ‘Give me a hint, please’ .. I used to title things something similar to: ‘Blue vase, yellow rose.’ You get the picture. Nothing of my heart in the title. Now, you get MY heart through someone else’s words and my paint. haha. Speaking of that, I’ll post my latest next.
    Carey…I’m still feeling the Orient in that comb painting. =]

  6. Great story Christine.

    “Sometimes H and I will just start calling a painting/collage by a certain name as you might some person that you start to notice around town but never really meet.” Simply means naming by shorthand for a marked characteristic. We still recall “Mr. Wigman” from Washington DC. CC

  7. I liked the link Christine. It is interesting to notice in museums/galleries if visitors look at the label for the artist name or title before, during, of after they take a good look at the work. I can imagine that a label might slightly incumber allowing a work that really grabs you to just wash over you. I don’t think that I take too much notice of titles. For instance I was talking to Catherine yesterday and referred to Nolan’s “Red painting with the bird in a cage.” I love that painting, but have no idea what it is titled. I forget the titles of my own work half the time.

    It is a gift when a work asserts its own name. I’ve named in near series — “Agave Defiant,” “FiestAgave.” I get naming after a song. I just named one “Moon Shadow.” I don’t love that song, but if totally fits. [Just recalled sister Lise, drawing the final results of that song’s protagonist’s “and if I ever”s. BIg Sis is wicked-funny.] I like very inside joke titles hung on a wall. They certainly don’t illuminate with language the meaning or intent of a work, but they make me smirk with secret pleasure.

    Raul Dorn titled a work on paper “She Came in Through the Bathroom Window.” Catherine had no idea that is the a song title from the best selling album by a group titled The Beatles. She looked truly befuddled. Just goes to show we don’t always share the same picture-frame of reference. Which might actually improve a title. CC

  8. You certainly like to start a thread every so often don’t you cc? You started that early on with the questions for artists…I and think that was where some of us formed a bond.

    Visuals come to us effortlessly…words are harder…but if we can extend ourselves, and become more articulate about what we are doing, all is good. We are communicators after all.

    This is harder to achieve for artists in the regional areas, as we may not see another artist for months at a time, let alone speak to one. I’m sure we all now realise the worth of the blog!

    This is probably a good time to say a big thankyou to partners They give so much encouragement and support. They actually develop a very good eye from watching our progress.

    My sons could always pick out my best works…works that might later win a prize or some kind of recognition.

    My husband would come to the studio , and if I asked him his opinion of a new work, he would say either……’Yes’ …. or…. ‘No’. I miss that. cx

  9. PS CC…I really like your ‘Certain Signs’ exhibition title. Well thought out! cx

  10. Partners . . . I’ve learned on this blog that Nolan has Winkler’s descerning eye to call on. It has been thought provoking for me when he has commented on my work. He sees with both a personal and a gallerists view. He knows his own tastes and has a good sense of what others are drawn to. Hope to meet Murray here in LC in 2015.

    There are a few people that I’ll take art-advice from. Nolan, though I gather that she’s been burned a time or two by being forthright. Raul. Debo. Dad of course. Catherine comes at imagery in a delightfully rightfield, decidedly literary way. Heather Barrett-sometimes-Crane is my High Councilor. She is an architectural historian, versed in aesthetics but grounded in instinct when it comes to my paintings. She is not fluent in art speak. I am not her favorite artist and I respect that. I very often take her direct suggestions while I’m in process. I don’t always go directly to where she points, but many, many paintings are better for her pushing things a little further, saying “tag that down” or suggesting that I . . . “just. stop. now.”

    A BIG thank you to my partner, wife and best friend Heather.

    I feel a little exposed without my irony on, but as Heahter says “There you have it.”

    Thanks Christine.

  11. Nice comment, Carey. I’m not Winkler’s favorite artist either, but he does have a discerning eye and he is the only person I ask or listen to regarding an unfinished painting. Or even a finished one if he really doesn’t like it. Then again, I’ve suggested he may be wrong on that and to rethink it, haha. Some just stay no matter who else doesn’t care for them. Nah, I rarely give advice to other artists, though I have been asked a few times. First I need to know that they ‘can handle the truth’ (ha), but, really….who am I to suggest something to another painter? I see it from MY point of view, not theirs. But, if there is a GREAT and glaring ‘flaw’ that hasn’t been addressed I will give a hint. =] Arting isn’t easy…giving criticism? Even harder.

  12. By the way, people….Carey’s show looked wonderful and by the time Winkler and I left we saw a sale tag….and guess who the buyer was? Our own Sorensen…from back east at the moment. I believe it was one from the Aussie show. And I’m sure more will be taken before his show is down. It’s just a beauty. He posted one above…The Ganges (in the title) …the orange one. In real life it is more of a quieted orange and turned out to be Winkler’s and my favorite int eh show. Along with a DARK one (for JCC)…Moon Shadow. Bravo, Carey.

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