Standard Decay

Standard Decay

48"x30"

Oil on Panel
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Experimentation and Execution

Transect (Early stage in progress)

I've been thinking a good deal about process lately, so I thought I'd post this photo.  It shows an early stage in the development of my recent painting Transect.  Like many of my paintings, the image emerged from abstraction, and assumed solidity as it developed. [An earlier stage of the painting can be seen in the lower right corner of this photo].  During the early, non-representational phase of the painting, I established the basic composition and movement of the canvas.  As I stirred the canvas with my brush, I let the content rise to the surface. I'd been working with earwig imagery for a while, but without bolting it firmly to a finished painting. After several false starts, the earwig joined with the anatomical diagram and marine engine illustration, and achieved stability.   

I love the convergence of ideas as they fuse into a final painting.  I try no to be overly intellectual during this process, as intuition and impulse tend to guide me more faithfully than rationality.  Sometimes the final work succeeds, and sometimes it doesn't, but something of worth always transpires in the process. 

While I frequently employ this experimental mode of painting, I also work in an executive, goal-oriented manner.  As can be seen in The Persistence of Hope in the Face of Doubt, the initial study is almost identical to the finished painting.  When working in this mode, I attempt to execute the painting in the most efficient manner possible, moving from sketch to underdrawing to final painting in the least number of moves.  Paradoxically, the constraints imposed by a predetermined image allow me a greater freedom of expression.  The preexisting framework liberates the act of painting from the concerns of composition.  Like a jazz musician improvising on an existing song, I am able to paint with greater abandon, thinking only of the marks themselves.

Of course, these two methods are not incompatible.  They are the right and left hands of painting, and I alternate between them as need dictates.  In Transect, for example,  the experimental gave way to the executive as the painting matured.  Likewise, The Persistence of Hope required a great deal of experimentation during the endgame to resolve issues inherent in the initial plan's execution.

My goal, then, is to cultivate an open, intuitive experimental mode while honing my skills of execution.  In the end, I hope to develop the ability to switch seamlessly between the two modes, striving always for increased facility and verisimilitude. 

In the Absence of Memory

In the Absence of Memory

24"x36"

Acrylic on Canvas
(In Progress)

Transect: Artist Statement

A transect is a path used by researchers to survey a geographic area. The path follows a predetermined course that does not deviate for topography or local conditions. This allows researchers to gather data about the location, density, and composition of the subject being studied. Often, a transect will be marked in advance and surveyed multiple times in order to observe changes in the same region.

Several years ago, I worked as a member of a research team in the rainforests of the western Olympic Peninsula. As a part of my job, I followed pre-marked transects and collected data about vegetation and potential nest-predators. I quickly realized the difference between the theoretical transect of textbooks and the grueling, messy act of holding one’s course in an uncooperative world. Through ravines full of Devil’s Club and over the blasted landscape of clear-cuts, I clung fast to my compass and searched desperately for the next sign marking my path. In these tense moments of uncertainty I learned important lessons about purpose, perseverance, and the mechanics of faith.

The paintings included in this show are the products of my own personal transect. Through them I am slowly piecing together an understanding of the world in which I live. They span a period of approximately six years, in which I have covered a great deal of ground and learned many hard-earned lessons. They vary in both subject and style according to the nature of the landscape at the time of their creation.

I am still walking my transect, and though it occasionally passes through patches of Blue Berries and forests lined with Wood Sorrel, I know that the real value is to be found in the dense and thorny brambles of doubt and difficulty.

-Michael McDevitt, 2008

Transect Postcard

Open Studio Tonight

619 Western

6th Floor South

6-9PM

Transect

Transect

Acrylic on Canvas

20"x16"
Available

This painting is both the namesake and the post-card image for my upcoming show at Georgetown Art Center in Seattle. I'll be posting more about it soon, but two points are especially relevant. First, the opening will be Saturday, October 11 from 6-9. Second, if you would like me to mail a post card to you, please email your address to mcdevittmailinglist@yahoo.com.

Sheep on the Auction Block

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Tonight my painting, The Persistence of Hope in the Face of Doubt, will be auctioned as part of Vashon Allied Arts' annual fundraiser.  This year the theme is the Mad Hatter's Ball.  I believe proxy bids are accepted... y'know, if you're interested...

Check out the VAA website for details.

Male Model with Stick

Charcoal on Paper
Approx. 12" x 9"

I can't remember the name of this model, but he was one of my favorites in the KOH Atelier.  He was an older gentleman who walked with a stick but looked like he could throw a boulder. Indeed, I wouldn't be surprised to find him on a secluded path in a distant folktale.  He was straight out of a picture by NC Wyeth or Arthur Rackham.

The Persistence of Hope in the Face of Doubt (study)

Charcoal on Paper
Approx. 20"x13"

The August Struggle

After a bit of a hiatus, I am back in the studio and gearing up for my October show at the Georgetown Art Center here in Seattle. Since completing my term in the Painting & Drawing Atelier at Gage, I've been wrestling with big questions about my art.

What do I want it to embody? How do I want it to look? What methods do I want to employ in its creation?

I can't say that I've answered even one of those questions, but I've got enough of a handhold to move forward. What I do know is that I am not satisfied making strictly Realist art. Realism and representation are central to my artistic view, and I have no interest in discarding them. Yet, as a product of the A.D.D. world of digital postmodernism, I want my art to be both stylistically dynamic and philosophically sound. To that end, I am currently working on reintegrating some of the more disparate elements of my art. I hope that with some effort, I can push my art to the point where it can simultaneously engage with the visceral beauty of the observed world, the mysterious poetry of dreams, and the analytical complexity of the inner landscape.

Of course, I intend to always leaven that dense mixture with a healthy dose of Dada-infused absurdity and good, old-fashioned gallows humor.

I know that's a tall order, but a fella's gotta dream.

So, now I'm off to the studio to try to make that dream a reality... one brushstroke at a time.

Volunteer Park Gatehouse study

Oil on canvas board
9"x12"
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I painted this study in two afternoon sessions at Seattle's Volunteer Park. The gatehouse, just off stage right, is a stone tower that reminds me of something out of New York City. The barbwire fence surrounds a circular reservoir, which was originally built to supply water for fire control after the Great Seattle Fire.

I learned this neat bit of trivia from Larry, the reservoir guard. He phoned into HQ to make sure that it was alright for me to be painting where I was. I think that Larry was secretly thrilled to have something to do and someone to with whom to pass the time of day.

A Tree Through the Seasons

The images below show, in order, the front, inside, and back of a wedding invitation. The clients, who are dear friends and avid gardeners, requested that the invitation depict an apple tree in various stages of the year. I designed the invitation with an unorthodox construction that provided the recipient with a novel and unrepeatable opening experience. Upon arrival, the invitation was sealed and bore no words. A string had been embedded discreetly in the front page with a tab instructing the recipient to pull it. As the string was pulled, it tore the paper, creating a door that revealed the inner portion of the invitation and transformed winter into summer. (In this version names and personal information have been purged) The client was very happy, and the invitations created a quite a stir among their friends.

The First Thursday

The Prince Fool
Intaglio, Ink, Watercolor, Gouache, and Acrylic on Paper with Stitchwork and Antique Frame
7"x5"
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Tonight will be the inaugural 1st Thursday Art Walk for our studio. Drop by anytime between 6 and 9. I'll be holding it down with Jason Sho Green. We're in the 619 Western Building on the South side of the 6th floor.

I'm All Ears...

Cast of Ears
Charcoal on Paper

Over the years I have been incrementally improving my game. In time, I intend to be a A-1, ironclad, all-boxes-checked, fully annotated, every-dime-accounted-for Businessman. Right now, that means tackling one of my organizational nemeses-- the mailing list.

To that end, I have created a new email account to use exclusively for mailings. I'll only be using it for show notifications, open-studio announcements, and other related items. I solemnly swear that I will not email pictures of cute kittens, links to YouTube videos of people falling down, or any other drivel.

SO... if you'd like to be added to the list, send an email to:

McDevittmailinglist@yahoo.com

Use the subject 'add me,' and I'll do just that. If you'd like to receive show postcards, please include your snail mail address in the body of the message.

Thanks for stopping by, and thanks for your support.

First is the worst. Second is the best. Third is the one-- well you know the rest.

I'm happy to say that Billy Howard selected my painting More and Then Some as the Second Place winner of the Still Life category in the Best of Gage Show. At the award ceremony, the Kang-O'Higgins Atelier was rolling strong. My studiomates won First Place in Landscape (Jason Sho Green), Third Place Figurative (Aaron Hart), First Place Sculpture (Tamara Stephas), and the People's Choice award (Tenley DuBois). As you can see, the air at the ceremony was so charged with emotion that it actually became blurry. It was something to behold.

I also recently had the pleasure of being awarded the Second Place prize in the Seattle Co-Arts scholarship competition. Officially there is only one prize, but when they feel it is necessary they petition the board for the creation of a second award. Of course First Place has its own panache, but it's pretty flattering to have an award created just for you.

The Best of Gage

Tonight is the opening for the Best of Gage show at Gage Academy of Art. There will be a ton of work from the entire Gage community. Special guest juror Billy Howard of Howard House Gallery will present prizes. There will also be artist demos as well as free food and booze.

Did I mention free food and booze?

Gage Academy of Art
1501 10th Ave. E
Seattle, WA

6:00PM to 9:00PM

Miscellany

After nearly nine months at Gage I am considering selling my life drawings by the pound... please remember to write down your PLU on the tags provided.

Cast of Hermes Praxiteles

Pigeon

Randy

Ruth

Apocalypse Now! (and a little more later)

Despite the Damage He Could Recognize His Own Face
Acrylic on Panel
12"x 24"
Available

As the days grow longer and Spring turns to Summer, people all across America are thinking about one thing-- the Apocalypse.
Flowers. Sunshine. Hellfire. Plagues. It's pretty much a matched set.
To celebrate this festive season, I'll be taking part in Ouch My Eye's June show, Apocalypse Now. I'll be including Still Life with Hellmouth, Still Life with Virgin Mary, and the painting above, which is part of the Lost in the Park Series.
Looking past the cookouts, camping trips, and rivers of fire, Fall is beginning to show her colors. In October I'll be having a solo show at the Georgetown Art center. I'll be branching out from the work that I've been doing at Gage, pushing for more ambiguous space and using composite elements. Like my 2005 October show, On Dark Ground, I'll be dealing with themes of memory, mortality, and the connections between the past and the present.
So, come down to scenic SoDo on June 13 and help ring in the new season with a bit of apocalyptic cheer.

Letters from the Inquisition

For some time now I've been meaning to start a second blog. Feel Free to Wander is dedicated primarily to displaying my work, publicizing events, and generally keeping folks informed about my whereabouts. I've made it a general rule to only post images that are my own. There are a few exceptions, but mostly I've limited myself to linking to images that belong to other people. Likewise, I've tried to keep the rambling and meandering to a minimum. While I've been quite happy with the results, I've had a nagging desire expand a little. I'd like to post interesting photos, write some essays, share the occasional poem, and tell a few stories. Furthermore, I'd like to be able to display and discuss the work of my peers and predecessors (properly linked and credited, of course).
To this end, I have begun work on Letters from the Inquisition. I'll be looking to blogs like Hungry Hyaena, Bioephemera, and Monkeys For Helping for inspiration. I'll be continuing to post about my work here, so please do keep stopping by.

New Digs

My time at Gage is coming to an end. While I hope to continue taking classes and workshops, I will be leaving the Drawing & Painting Atelier in just over a month. As one thing comes to a close, however, something new begins to open. With the arrival of summer, I move into a new studio on the 6th floor of the 619 Western Building in historic Pioneer Square. I'll be sharing the space with Jason Sho Green, a sculptor named Mathew, Ryann Donelly of Schoolyard Heroes, and her mother, Linda.

The space is open, bright, and airy with an entire wall of windows. The floors are beat up hardwood, and everything has an industrial feel. The building is a warren of studios and gallery spaces. It gets a great turn-out every 1st Thursday during the Pioneer Square Gallery Walk. We also have a sound-proof recording booth (structure with door above) that was left to us by the former tenant (a music producer whose name I am supposed to know but can't remember).

My space is next to the windows. It has a great view. I look forward to painting the ivy-choked buildings shown above. The smaller of the two is actually slanting at a remarkable angle.

Here you can see how the camouflage of the wild Sho Green allows it to blend into its native habitat.

So, stand back kids, there's gonna be some art goin' down.

"A Dialog from the McDevitt Show"

[As related in an email from Curtis Bathurst]

Three people in their late 50s and 60s wander to the back of the gallery.

Person 1: Is it snow?

Person 2: It could be snow.

Person 3: It could be snow or it could be sand.

Person 1: It says, "Return to distance."

Person 3: It could be snow on the sand, too. This guy has on special shoes.

Person 2: I wonder if there was a computer used.

Fog & Other Mysteries

Artist's Reception
Friday May 2nd
6-9PM
Gallery 070, Vashon

This evening is the opening of my new show at Gallery 070 on Vashon Island. In addition to the requisite food and booze, my opening will feature the mysterious musettes and foggy tangos of Maggie Kim on the accordion and the incredible voice of Maeg O'Donoghue-Williams as she performs traditional Javanese songs and original compositions. While you are out on Vashon, you can enjoy the rest of the first Friday art walk featuring... more food, booze, and music!

Also, my show is included on the Vashon Studio tour, which will be going on Saturday and Sunday of this both weekend and the next.

Here is the artist statement that accompanies the paintings:

The paintings in this show are from the series ‘Fog & Other Mysteries,’ which explores the mysterious within the mundane. The work, all of which is new, is executed in both oils and acrylics. I made numerous preliminary studies, drawing on a combination of direct observation, photographic reference, and imagination. It is my first major return to oil painting in five years, and the first time that I have combined oils with extensive acrylic underpainting.

When I began ‘Fog & Other Mysteries’ I intended to create a series of monochromatic paintings that used tone and atmosphere to evoke a sense of light and space. My goals, as you can see, changed significantly between conception and completion. My initial sketches focused on scenes of fog, snow, and dusk, and it was from these images that the series earned its name. As I worked, the series grew to encompass a range of imagery far wider than the original dim scenes. The sunny fields, craggy heights, and ramshackle greenhouses that emerged pushed me to open my palette, increase the size of my canvases, and create the work that hangs before you.

‘Fog & Other Mysteries’ was both challenging and rewarding to paint. The process of its creation involved both technical and spiritual struggles. I emerge from this process with a greater knowledge of my craft and a deeper appreciation for the mystery that is at its core.

Fog & Other Mysteries

The following images are from the series "Fog & Other Mysteries," which is currently hanging in Gallery 070 on Vashon Island. For purchasing information, contact the gallery at 206-463-9280 or email info@gallery070.com

[Note-Two paintings that are included in the show are not posted here.]


Fog #3
10"x8"
Acrylic on Canvas
Sold
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Hoodoo (Yellowstone#3)
12"x12"
Oil & Acrylic on Canvas

Sold
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Seaside Shrine
12"x12"
Oil on Canvas

Sold
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Filigree
5"x7"
Oil & Acrylic on Canvas
Available
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Undone (Yellowstone #1)
12"x12"
Oil & Acrylic on Canvas
Available
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Selective Memory (Yellowstone #2)
12"x12"
Oil & Acrylic on Canvas

Sold
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The Persistence of hope in the Face of Doubt
48"x36"
Oil on Canvas

Sold
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L'Incertitude des lumières
36"x24"
Oil on Canvas
Available

Fog & Other Mysteries

More and Then Some
36"x24"
Oil & Acrylic on Canvas
Available
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The Oral Tradition
36"x24"
Oil & Acrylic on Canvas
Available
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On Progress
12"x12"
Oil on Canvas
Available
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Return to Distance
45"x72"
Oil on Canvas
Available
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The Thin Line Between Dreams and Memories
36"x24"
Oil & Acrylic on Canvas
Sold
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The Trials of Dismas
36"x18"
Oil on Panel

Sold
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The Solace of Heartache
12"x12"
Oil & Acrylic on Canvas

Sold