Wednesday Evenings With Fast Eddie

I've been hitting the Cleveland Institute Of Art's wednesday drawing group for years, although it doesn't happen with enough regularity anymore.  Fifteen bucks gets you 2 hours of a naked (or nearly naked) person to draw from.  The room isn't air conditioned, There's no instruction. and the lighting is piss poor compared to the time I spent at the Academy Of Art, but I'll take it.  There's nothing more cathartic than  you, a model, and some heavy metal.


  

The last pose is always an hour and a half, and it's really pushed me to a new level.  Before and even during school, I always drew just enough to get by, and then I'd run out the clock before it got too hard.  I didn't get into this art nonsense to work hard, after all.  With this longer format, I've got no choice but to do something with the time.  I wish I would have done it sooner, because it's the most rewarding thing I do nowadays.


I've been working with this format for a little over a year (the previous instructor preferred short poses), and I think in the coming months I'm going to switch to a heartier paper.  While the price is right on newsprint, I've honestly only stuck with it to not give my work too much importance.  You never have to explain a mistake on newsprint, because it can always hide under the guise of a "sketch"


While I've got a lot to learn, and a ton to grow, I feel like these are drawings that I'll want to keep for a while.  Hopefully to look back at how much I've grown in the coming years.


The Power Cosmic

I've been talking a lot about the answer always being in your sketchbook lately, so I thought I'd post a couple of pages from when I was living in San Francisco because they're indicitive of where I'd like to move artistically. 


People frequently ask me what it was like living on the west coast, and what mattered most to me was the amount of time I had to explore my visual voice.  It was the first time in my life that there was a true marriage between observing from life and unbridled creative embellishes.  I only wish I had more time to develop unique iconography instead of regurgitating what I was already familiar with, the same symbolism born out of the San Francisco underground comix movement. 

Obviously, I wish i had more time for a lot more reasons than that.


Either way,  I spent last year in San Francisco exploring the inner workings of my mind, and I'm decoding what that means for my work today in Cleveland.