Paris Print

forty dave cooper characters for Paris, 2011
is a 1-colour fine art Serigraph Print that was made to commemorate my visit to Paris in September of 2011. i was there attending a really exciting group show put on by the amazing “Hey” magazine. Hey is a wonderful periodical that chronicles the goings on of weird painters like myself… but Hey is also an amazing group of people! they put on an incredible show, and were terrific hosts. i have numbered Prints 44/85 – 85/85

“forty dave cooper characters for Paris, 2011″
Serigraph Print, edition of 85
19.5 x 27.5”
Rivoli paper, acid free, 280 gr. 1 colour

my studio, 6am

i always say- the only thing that could improve this place is if i opened the drapes and was looking down on Central Park- click to enlarge

Conor's thumb

my buddy Conor mangled his thumb a while back. he sent me before and after snapshots of the nastiness. so i adjusted those two pics and then made the third with my family– as a get well triptych. (click to enlarge)

tissue on melting ice. spring is coming

Peering Over/Looking Back, pt 6.

holy crap, even I can hardly tell the difference between these 3 separate days of work! no wonder i get so bummed out during the middle phases. it’s always the same: in the beginning there’s TONS of great progress, at the end it’s like you’re wrapping a kickass gift. but in the middle i’m just wandering around in the desert, clueless. i know from experience that it will work out in the end, but there’s still always that little part of me that thinks, “okay, it’s over. the well has officially run dry.”

click to enlarge

mini video interview by Bruce Deachman

well, isn't THIS a fine pear?

Peering Over/Looking Back, pt 5. colour and contrast…

here i keep adding some semi-opaque and translucent glazes to whatever areas seem to cry out for them. i push things back and pull some things forward by making them diffuse or sharp. again, these stages have no rhyme nor reason, and they can’t be easily quantified or rushed. i get really zen and just let the painting tell me what it needs. the moment you try to impose deadline or required outcome, you start digging a hole for yourself. if you let the painting dictate where it wants to go, you happily sidestep the hole and stroll along on the surface.

hey, check it out– it’s starting to look a bit like a painting! very slight differences here, but they represent a lots of time and thought…

here you can see how i begin to address the black dead trunk. i find it way more effective to define the dark edges by stroking the edge with something light, rather than trying to darken, darken, darken. it’s SO easy to darken later with a super traslucent glaze. so i try to avoid that battle till closer to the end. for now, i just want to get something interesting happening in that quagmire.
you can see that i’m gradually trying to define the subtleties of what’s happening between the two figures’ heads,  and the light/shade, and negative space involved. that’s really the core of the image, so it’s important that that work well.

my French Venus

the good people at “Hey” invited me to paint on one of their blank, plaster Venus sculptures.

it’s for a Parisian breast cancer fundraising organization. they send the blanks out all over the world to a bunch of groovy artists like me. we do our thing, then the pieces are all auctioned off.
she showed up in a nasty particle board crate a couple months ago, and leaves again for Paris tomorrow. but this time she’s got a bit of colour in her cheeks (and all over the rest of her). also, she sports a nice measure of cock-eyed insanity.

my pal Ray (across the hall from me) said he was going to sneak into the crate and tag along. bring some sandwiches, Ray! and bon voyage!