http://sculptorsjournal.com
http://dawntreestudio.com
http://henrymitchellsculptor.com
http://earth-sign.com
Copyright © 2005-2010 henry mitchell. Copyright for all artwork shown on this site resides with the artists.
http://dawntreestudio.com
http://henrymitchellsculptor.com
http://earth-sign.com
Copyright © 2005-2010 henry mitchell. Copyright for all artwork shown on this site resides with the artists.
LEFT:
"Remember"
gesso on paper
28 x 20 in.
BELOW LEFT:
"Until Then"
gesso on paper
26 x 20 in.
BELOW:
"Untitled"
gesso on paper
26 x 20 in.
"Remember"
gesso on paper
28 x 20 in.
BELOW LEFT:
"Until Then"
gesso on paper
26 x 20 in.
BELOW:
"Untitled"
gesso on paper
26 x 20 in.
ABOVE:
"Rush"
gesso on paper
20 x 28 in.
LEFT:
"Talk"
gesso on paper
26 x 20 in.
BELOW LEFT:
"Pixied"
gesso on paper
26 x 20 in.
BELOW:
"Fairlight"
gesso on paper
20 x 28 in.
"Rush"
gesso on paper
20 x 28 in.
LEFT:
"Talk"
gesso on paper
26 x 20 in.
BELOW LEFT:
"Pixied"
gesso on paper
26 x 20 in.
BELOW:
"Fairlight"
gesso on paper
20 x 28 in.
Saturday 15 May 2010- Without having planned it, drawings have become a central element in my work. Each workday begins with a drawing, and often ends with one as well. The drawings stand as prayers of a sort. Although none of these images represent anyone known or seen by me, they invariably call to mind in their making, and as I look at them later, people I do know and love. Others who have seen these drawings have told me the same sort of thing.
Monday 17 May 2010- Arthritis in my hands is making carving noticeably less fun. Aspirin is a very good thing. This may be the last summer I spend making carved sculpture, though. There are other media that are much kinder to my aging machinery.
Monday 17 May 2010- Arthritis in my hands is making carving noticeably less fun. Aspirin is a very good thing. This may be the last summer I spend making carved sculpture, though. There are other media that are much kinder to my aging machinery.
LEFT:
"Cookie"
gesso on paper
28 x 20 in.
BELOW LEFT:
"First"
gesso on paper
26 x 20 in.
BELOW:
"Last"
gesso on paper
28 x 20 in.
"Cookie"
gesso on paper
28 x 20 in.
BELOW LEFT:
"First"
gesso on paper
26 x 20 in.
BELOW:
"Last"
gesso on paper
28 x 20 in.
LEFT:
"Calling Me"
gesso on Lenox 100
15 x26 in.
BELOW LEFT:
"She Waits"
gesso on Arches Cover
28 x 20 in.
BELOW:
"Up the Creek"
gesso on Arches Cover
28 x 20 in.
"Calling Me"
gesso on Lenox 100
15 x26 in.
BELOW LEFT:
"She Waits"
gesso on Arches Cover
28 x 20 in.
BELOW:
"Up the Creek"
gesso on Arches Cover
28 x 20 in.
Thursday 20 May 2010- From faces to places- the last two drawings have been landscapes, each with a little dwelling, set among trees. Again with these, there is no reference, unless there is something hidden in memory. Are these places real? They seem real and specific to me. Are they places I have seen, perhaps, long ago, or places I have yet to reach? Again, perhaps these drawings are as close as I will ever get to arriving there. Time will tell.
The landscapes are done in black gesso on Arches Cover, a 100% cotton paper, 250 gsm, with a coldpress finish.
Monday 24 May 2010- Landscapes are more difficult than portraits or figures. The structural lines that bind the composition together are not as obvious; it is harder to pare down to the essential form that defines the whole. But gradually, the landscape drawings are evolving, acquiring something of the solidity and coherence I am after. They may not please collectors as well as the figurative drawings, but for me, they wield more evocative power.
The landscapes are done in black gesso on Arches Cover, a 100% cotton paper, 250 gsm, with a coldpress finish.
Monday 24 May 2010- Landscapes are more difficult than portraits or figures. The structural lines that bind the composition together are not as obvious; it is harder to pare down to the essential form that defines the whole. But gradually, the landscape drawings are evolving, acquiring something of the solidity and coherence I am after. They may not please collectors as well as the figurative drawings, but for me, they wield more evocative power.
LEFT:
"Cross to Home"
gesso on Arches Cover
20 x 28 in.
BELOW LEFT:
"Getting There"
gesso on Arches Cover
28 x 20 in.
BELOW:
"Wild Sky"
gesso on Arches Cover
28 x 20 in.
"Cross to Home"
gesso on Arches Cover
20 x 28 in.
BELOW LEFT:
"Getting There"
gesso on Arches Cover
28 x 20 in.
BELOW:
"Wild Sky"
gesso on Arches Cover
28 x 20 in.
LEFT:
"Wild Sky 2"
gesso on Arches Cover
28 x 20 in.
Hand in Hand Gallery, Flat Rock NC
BELOW:
"Wild Sky 3"
gesso on Arches Cover
20 x 28 in.
"Wild Sky 2"
gesso on Arches Cover
28 x 20 in.
Hand in Hand Gallery, Flat Rock NC
BELOW:
"Wild Sky 3"
gesso on Arches Cover
20 x 28 in.
Wednesday 26 May 2010- One must approach a drawing with an open mind, and a willingness to follow wherever it might lead. A drawing must be wooed, like a wild creature. You must become at one with it, if you wish it to befriend you. Drawing requires watchfulness and patience and a willingness to forget what you think you know. Making a drawing is as much about dancing as seeing, and comes as much through the bones as through the eye.
RIGHT:
"Wild Sky 4"
gesso on Arches Cover
28 x 20 in.
BELOW:
"Morning Smoke"
gesso on Arches Cover
28 x 20 in.
"Wild Sky 4"
gesso on Arches Cover
28 x 20 in.
BELOW:
"Morning Smoke"
gesso on Arches Cover
28 x 20 in.
Friday 28 May 2010- Conventional wisdom is that an artist needs to have a gallery show every year or so. There may not be one for me this year. I have commissions that will keep me busy through the summer, then there's another open studio planned tentatively for October, that may be primarily works on paper.
Whatever else I'm doing, drawings seem to come daily, without any great act of will on my part. They are well received by collectors, and I sell more of them than anything else, although for some reason, dealers seem shy of them. Maybe they don't see enough money there. Maybe they feel they are too accessible for their elite clientele. At any rate, in fifty years of working as an artist, I've had two shows of drawings.
Whatever else I'm doing, drawings seem to come daily, without any great act of will on my part. They are well received by collectors, and I sell more of them than anything else, although for some reason, dealers seem shy of them. Maybe they don't see enough money there. Maybe they feel they are too accessible for their elite clientele. At any rate, in fifty years of working as an artist, I've had two shows of drawings.
Tuesday 1 June 2010- Several commissions will keep me busy most of the summer, although I still hope to accumulate enough work for an open studio in the fall. Then I would like to concentrate for awhile on works on paper, especially drawings. I have always done a lot of drawing, but my current interest in drawing landscapes was sparked by my encounter with the black-and-white photographs of Reg Darling. So my drawings are done very quickly, usually in a single session, in an attempt to achieve something of the kind of immediacy one finds in a photograph, which is a picture as much of a moment in time as of a place.