Figures . A new book by Chris Carter

Figures

By Chris Carter

I just published a selection of figurative paintings.

The book is 7" x 7", 40 pages, 39 full-color reproductions of watercolors and mixed-media. Click on the image to preview and, if you wish, order the beautiful book.

Chas Cochran . Harpman Sings The Blues

Chas is one of my favorite musicians. He is a singer/songwriter whose roots are in Chicago. His voice soothes my soul while his harmonica playing awakens my creativity. What could be better than that?

We met at Porter's Pub in Easton, PA where Maria Woodford ran the open mic on Thursday nights. Chas, along with several of the other fantastic musicians I have met at Maria's Open Mic played at the opening of my solo exhibit Fluidity at Monsoon Gallery in Bethlehem, PA. It was definitely a night to remember, a celebration of the creative energy that flows between music and art.

Visit Chas's Web Site

Listen to The Other Side of Two

Image: Chas - Watercolor by Chris Carter. To view more watercolor sketches of musicians visit Gallery of Musicians.

Painting with Acrylic Paint

For over twenty years I had a hate relationship with acrylic paints. They dry too quickly, the colors used to be far too plastic looking for my taste and they didn't have the wonderful smell of oil paint and turpentine that I love so much.

When I found myself pressured to begin, complete and hang a painting in less than two days I resorted to acrylics in spite of my dislike for the medium. Following the Hurricane Katrina disaster in New Orleans, I painted a series featuring two of the original New Orleans Jazz Bands, The Eagle Band and King Oliver's Band. The image above is The Eagle Band.

Working in acrylic I was forced to move quickly and boldly. For the first time, I enjoyed the quick drying medium. Shortly after completing the series, I forced myself to paint in acrylics, mixing my own dilutions and experimenting with the different mediums that are now available. Within a month's time I put the past dislike behind me and embraced acrylics. I am now able to use my watercolor techniques with acrylic on canvas. The paintings can be stretched and either not framed at all, or framed without glass. I often begin with watercolor splashes on the canvas, seal the watercolor and continue painting with acrylic. Acrylic also allows me to use charcoal for line work and delineation of forms. I can seal the layer of charcoal and continue with fresh glazes. The painting above, Dance for Dionysus was created in this way.

Why do I Paint Flesh Green?

This is a very early painting. It has remained one of my favorites. It dates back to around 1973. I lived in Boston. Most of my friends were musicians. I often photographed them using high speed black and white film for their promotional materials. This is a portrait of the lead singer of a band called Flyer. He had just gotten out of jail and was happy to back with the band. I didn't realize I was painting his flesh green at the time. Over the years, I've painted numerous green-fleshed paintings and I never realize I'm doing it until it's already done.

Image: Arnie - Oil on a scrap of canvas

The Music of Maria Woodford

Click to Listen

Maria and her music has been a constant inspiration. Painting during her wedding was a most delightful experience.

Image: Maria and Brian dancing together on their wedding day.
Watercolor and Ink sketch by Chris Carter

Sketchbook Drawings: Allowing personal shapes and forms to express themselves

Puzzled by the diversity of my work, people often ask which medium and which genre is my favorite. If I had to chose one tool and one way to express my experience of life, I would chose a pencil and my sketchbook in which to draw orbs and organic shapes in space.

For many years my sketchbooks were filled with the struggle to draw realistically, the struggle to see the world as objects rather than shapes and patterns of light and dark. I rarely used my sketchbook to draw the orbs, ribbons and button-like shapes that automatically come from my pencil when I'm not thinking about drawing. As a child, I filled the pages of the telephone book with these delightful marks. I left these marks behind on napkins and placemats when I traveled. These shapes that move through space have been a part of my consciousness for as long as I can remember. Yet, I never honored these constant companions with a place on a page in a sketchbook or on a canvas. The first time I allowed them to become a painting was during the summer of 2003.

On December 31, 2005 I opened the cover of a new sketchbook, picked up a pencil and was immediately distracted. When I glanced at the marks my pencil had made, I saw the familiar orbs and saucer-like forms drawn faintly on the page. The time had come to embrace these shapes and to follow wherever they might lead. A journal drawing, allowing the drawing itself to inspire each mark, become a daily meditation. Surprisingly, the meditative practice led back to the figure and a serious study of the skeleton to allow the figures to emerge from the paper with movement in space without a model.

Watercolor Painting: Restless by Chris Carter

What is it that gives an image a life of its own? What is it that is felt when a person enters a room and the room feels different? Is there something beyond the words spoken, the tone of voice, the shape, the size and the color? What is it that is invisible yet seen vividly through the eyes of the soul? Can that invisible force be captured and expressed in paint, clay, music, poetry, dance or film? Or is the attempt to express that force of energy enough?

Image: Hera Grows Suspicious ... Again
Mixed Media Painting by Chris Carter