The birds we see in the dead of night. Oil on oak panel. 24 x 48 inches. Based on a succession of falcons I witnessed swooping across Interstate 65, somewhere outside of Indianapolis, around 3 am. My headlights caught 5 or 6 of them and it was a rare event, as they normally fly during the day. – JM
The stacks was done with a Micron 05 on heavy French paper. I drew with the final mounting in mind. There are (4) 1/2 inch chrome bolts holding a Masonite board to a slab of medium density fiberboard. This piece hung with work I showed this past weekend at a local arts festival and I’m happy to say it was greatly admired by several people. Drawing with a high quality pen on skillfully compressed paper is awesome. The side views are my favorites. The photographs don’t translate what’s to see in person. Ultimately I’d like to compose these at a more massive scale of two stories on the side of a building wall. – JM
The police I grew up with involved illustrations of police in my grade school textbooks rescuing kittens, directing traffic, being in general beneficial support persons for our wider society. In my community, across the continent, I suspect there are still representatives of these police. What images I mostly see today though are of a militarized force sent out to confront some mass at demonstration. I still prefer the cat rescuer illustrations. PIECE 1) A Cultural Bygone. Wood, badge, stuffed cat. PIECE 2) Traffic Duty. Cardboard shipping tubes, wood, badge. – JM
I started painting smoke last summer, and approached the concept a few times more this summer. This piece, The Rebecca Ward Goes Down, symbolically describes wooden ships that were frozen in place, and ultimately crushed by the ice, as early explorers (such as Robert Peary and crew) attempted to reach the top of the world.
Latex paint and ink on medium density fiberboard, framed in oak, maple and walnut.
These photographs are from a temporary outdoor exhibit I posted on the exterior wall of an abandoned concrete facility at the end of July. Plenty of neighborhood people passed by and enjoyed the art… – JM
I recently traveled back in time, via an external hard drive, and found forgotten caches of old work (in the form of digital images). These 3 paintings are Eur’s and the first 2 were completed before we met. She used thickener to build surfaces onto the canvas so that you could run your hand over the finished pieces and they felt like topographical maps. – JM
We saw the Diego and Frida exhibit at Detroit’s DIA. For two educationally rich hours I got to study Rivera’s canvases and charcoal studies. Everything had to be committed to memory as there was no photography – not even sketching – allowed in the exhibit, so I kept my nose as close to his works as the environment would allow. Then we exited through the gift shop and wandered a course to Rivera Court – where Diego’s bigger than life Detroit Industry fresco exists. It’s flooring. If you admire even one single thing about large works on walls, then you must make it a point in your life to see Rivera Court (I felt similar awe seeing the Lincoln Monument at night a few years ago). Rivera Court is not a place for photography – capturing it is not possible. We stayed in the court for over an hour and visited it again before leaving the museum, being there compressed by our individual responses to such an artistically overwhelming place. I love to look for the artist at work whenever I see work in person, and I found Diego’s pencil lines apparent everywhere in the muted industrial storyboards visible at eye level (images inspired by what Rivera observed at Ford’s River Rouge Complex). Capturing the small images shown here was the only effective way I could capture any of Rivera Court. It’s given me new artistic material to reflect upon when creating my own work. – JM
3 unfoldable Diego’s. Going with us to Detroit. We’re bringing and leaving 21 unfoldables in all. I hope people who get the unfoldables will be inspired to hang, photograph, and email. The unfoldables break bread at the table of modern art. – JM