In the Studio #10

I finally finished the drawing for Pilot #5 a couple of days ago and I’m buying the lumber for the painting today. The drawing is certainly an exercise in world-crafting, and the drawing is very close to the image I imagined. I’m a little worried about how large this piece is going to be, the painting that it. I feel a little irresponsible in painting so large. I worry that the subject matter – which will include some generic protest symbols – might make the work look like protest or black art that can be dismissed. I’m getting to that age where I wonder who my audience is. I went to an art opening on the day I finished this drawing. It was in a gallery that for what ever reason I sorta covet being invited in. I was actually foolish enough to think that I might be in the show I saw since I’m familiar with the folks who run the space and at least one of them has seen my latest work. Well anyway the work in the show was of course of high quality but much of it read to me as product.

I look around my studio space and I don’t see much product, and that worries me in that I’m so fixated in making work that I like. I don’t respond well to commercial demands that artwork have a certain polish. Actually I must admit I rather resent feeling like I have to cow-tow to that market drive. Naive, yes I know. But despite my concerns, I’m making this big ass painting. Fortunately, the logistics of building, making and transporting this new work up and down stairs to the spray-paint booth will stop any questions in my mind about the content of the painting. Having a rigid technique and being driven has its benefits.

Here’s the finished Pilot #5 drawing.

Anthony Smith, How Do You Stop A Flying Dreadnaught 5, 54 x 72 inches, mixed media drawing, 2015

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