Wednesday, April 11

This is a short how to about making the nesting spheres pictured above. This is made from a one-ply cardboard that can be found at most art-supply stores and acrylic paint. I recommend acrylic paint because it has a certain bonding strength being made from plastic polymer base instead of a water based paint with pigment. This adds a small amount of durability to the chipboard that as you can see will be stretched to it’s limitations.

I start by using my compass to draw three sets of concentric circles on the cardboard, that are a quarter of an inch a part. You can make as many circles as you’d like. the outer most circle will be the diameter of your nesting spheres.

Then replacing the pencil with and exacto knife cut out each circle. Separate the circles into two piles, alternating between the two with each new circle. Repeat this step two more times so that you have three circles of each size. You may choose to complete the following steps for each of the two piles you create to end up with two nesting spheres of slightly different proportion. otherwise discard one pile and keep the other.

Next cut four 1/8″ slits into each circle at each intersection with the XY axis. Two cuts opposite each other should start on the outside and reach the middle. The other two cuts opposite each other should start from the inside and reach the middle. Be consistent on this step or your circles will not fit together to make spheres.

Put the circles together starting from the smallest set to the largest building each new sphere around the smaller ones.Remember to paint each sphere and let it dry before you assemble the next sphere around it or you may have spheres that dry together and will not move.

You can go as big as you like but remember gravity takes over at a certain point and the spheres tend to become misshapen. Once you are finished shake it around in your hands, the spheres will roll around inside of each other creating all sorts of fun. You could also be boring and leave it on your mantle to look at either way enjoy your new nesting spheres!


Wednesday, April 13th

Today our class is headed to the Weston Art Gallery in Cincinnati, Ohio. We will be seeing their current exhibition Sidereal Silence by Shinji Turner-Yamamoto. Yamamoto’s work is about discovering the essential in nature. He encourages us to encounter nature in new and unexpected ways that reconnect us with the environment around us. In the current installation he achieves this through a sound piece that was inspired by his trip to the pacific northwest’s and switzerland’s glacial waterfalls. Another video piece inspired by the same experience pairs two slightly different waterfalls right next to each other. The slight difference in flow and overwhelming power of each waterfall sets up a duality that is induces awareness of both difference and unison. In the lower level of the gallery is displayed a series of paintings made from raw materials such as cotton, animal glue, fossil dusts of different ages, etc, that elaborate Yamamoto’s artistic vision through his yielding to these elements, alluding of time and strata, and a surrender of artistic control.

The Weston is run by a not-for-profit organization, the Cincinnati Arts Association (CAA). The CAA oversees the Aronoff Center for the Arts and music hall. The Weston is located in the Aronoff Center and has over 3,500 square feet of exhibition space. This is among the most sought after exhibition spaces in the Cincinnati area, attracting both national and international artists. More information about this exhibition or the Weston Art Gallery can be found at

This is a small master-copy I recently completed of Picasso’s Guernica. The support is stretched canvas on trim board primed with gesso roughly 3/4’x 1 1/2′. Sorry for the sub-par picture, better documentation is coming soon. Picasso does a fantastic job of capturing the essence of that terrible night when the Hitler’s Luftwaffe bombed the unexpecting city of Guernica, Spain killing thousands of innocent civilians and leaving the entire city in rubble. After completing this mural sized painting an SS officer visited Picasso’s Paris apartment. He looked at the painting and asked “did you do this?” Picasso responded by handing him a signed postcard with the printed painting said “No, you did.”

Monday, April 11

Firstly let me apologize for the sub-par photograph, it was taken from my android phone. I’m working on cleaning up my studio walls to get some better documentation of my work. This is a 1’x 1′ oil painting I completed at the beginning of the year. I worked from a photograph I took of this rose, these are the actual colors of that rose. The panel is made from Masonite board framed with trim boards. More of my work can also be found at

Monday, April 11

This is a short how-to on getting this geometric design when glazing your pots. I purchased a one inch vinyl tape which can be found at most craft stores. I cut the tape to my desired width and taped off my design. If you desire a cleaner line you can buy pinstripe tape from your local auto store. I chose to cut my own tape because it was cheaper and gave a more rustic feeling to my design. After the design was completely taped off I sprayed a thick layer of black matte glaze on the whole surface. after the glaze completely dried, I very carefully removed the vinyl tape as to not let the glaze crack around the design. After the tape was removed I sprayed the whole po again with a thin layer of pinnel’s clear glaze. The interaction of the clear and black glaze turned the geometric design a light grey.Happy glazing!

Monday, April 11

I think it was Robert Henri who said that you have not truly seen something until you have drawn it. This relates to how I see non-technical research. Research can be found everywhere you look in the world if you think about what your looking at. The way people interact in public spaces versus how people behave toward each other on television is an example of this random research. Watching a cigarette burn or trying to see how many times a droplet of rain permeates the surface of a puddle are other examples. The goal in my mind here is to stop looking so your eyes can see what is before them. This way of seeing allows you to draw inferences and techniques from just viewing the world. How would I draw the reflection of light as it bounces off a window? The stretched diagonal Z is the classic illustrators trope to display this, but there are countless ways in which light bounces off of a glassy surface. How do you draw a puddle of water that is completely still to make it appear as a still puddle of water? How does one draw the texture of snow, metal, hair, plastic, or skin? This research is done by looking and existing in the world, just as the diagonal Z, there are numerous ways in which a person can depict something, making the viewer feel the subject matter is what artists truly aim for.

Monday, April 11

Emil Robinson hosted a drawing demonstration entitled, drawing with empathy, at the Manifest drawing center. This was a life drawing demo centered around cultivating a sense of empathy when drawing from the figure. Emil works mostly in oil pastels with a color pallete that emphasizes the reflected electric colors found in an artificial lighting setting. He brings forward neon blues and greens that one doesn’t really think of as existing on the figure, but his end result is always creative and stunning. Emil Robinson works closely with Manifest gallery and teaches drawing classes at DAAP, UC. More informatino about Emil can be found on Facebook at

Monday, April 11

Cedric Michael Cox came and spoke to our Professional Practices class and he gave us a lot of useful information about finding your niche in art, sticking to it, and marketing yourself accordingly. His straight forward but casual attitude was very refreshing. He taught us that being honest, open, and humble were among the most important traits one can have as an artist. Honesty allows people to get a sense of you as a real person and gives them access to your work. More importantly honesty is the key to building long lasting relationships professional and otherwise. Openness allows you the freedom to be available to new ideas and opportunities as they present themselves. This same openness allows you to appreciate and engage in new ideas and opportunities. Humbleness is important because let’s be honest nobody really likes to talk to someone who presents themselves as all knowing or aloof. More information can be found about Cedric’s work on his website,

Monday, April 11

Another influence of mine is Van Gogh. Van Gogh was a deeply depressed and troubled individual. In his landscapes he provides the world with a utopian like view of how the world might be. Maybe not so much how it could Be but how it may better be Perceived. He uses the texture of paint and the vibrations of his brushstrokes to ignite and bring forward the vibrant energy of his subject matter. I feel like it was this way of viewing the world that both led to his beautiful artwork and also to a life of being misunderstood.

I empathize with Van Gogh’s struggle to find meaning and acceptance in life as well as the struggle to allow the world to see this utopian perspective. Unlike Van Gogh my painting tends to more flat and I try desperately to make my brushstrokes fade in to the image. Like Van Gogh much of my works’ themes circulate around how to better see and understand the landscape in which we live.

Monday, April 11


One of my biggest influences is Salvador Dali. I have always been drawn to his surrealist images set in dream-like landscapes. Although a bit of a narcissist, he was also a brilliant thinker and painter. Many psychologists used his images produced by his”paranoiac critical transformation” method to move beyond the many failures of the psychoanalytical methods of Freud to better understand mental illness and the paranoia of the schizophrenic.

It is well known that many of Dali’s images were conceived when he was in the state of being half asleep but still lucid. I try similar methods of allowing my mind’s eye to delve into the unconscious realms of my understanding of the world to inform the images I create. Unlike Dali’s lucid sleep method, I use meditation, mantras, and stream of consciousness sketching as research. These methods allow me to create and think freely while examining in the third person. Many of Dali’s themes and of sex, nature, identity, and time are still central to my own themes.