Saturday, August 11, 2018

Poetry by Michael H. Hanson

Michael H. Hanson, a writer and poet who has published four collections of poetry and over ninety short stories, also creates poems inspired by paintings that he's seen on Facebook. Two of my paintings - Jessie's Diner and Cell Phones - were the genesis of poems this summer. Reprinted below with permission.

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Jessie's Diner
35" x 65", oil on linen, 2017
Courtesy of Adelson Galleries

This Treasure Chest

Another day at the diner,
the weather couldn’t be finer,
sizzling bacon perfumes the air,
each waitress a fun diviner
dispensing advice with a flair,
serving both kid and old-timer.

So pure the open window breeze
allows sweet grill smoke to allay
omelets piled high with cheddar cheese,
bottomless mugs in this café
putting most everyone at ease
as groggy thoughts just drift away.

Breakfast hash for the hungry man
and melon slices for the girls
all squeezed into a tight floor plan,
humanity’s palatine pearls
sharing these stools with kind élan
as broken egg yolk slowly swirls.

The crunch of toast, fresh home fries roast
in this room blest, this treasure chest
and common bistro on the coast
perfect, precious, and grandiose.


22 July 2018
Michael H. Hanson ©2018


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Cell Phones

15" x 15", oil on linen, 2012
Private collection, Massachusetts

Allegorical Oracle

We’re all plugged in, synced to the source,
bound by some discourteous force,
distracted from another course
of coffee, tea, and sane discourse.

An unconnected appendage
raking the highest percentage
of those who cannot save a dime
and fear missing the assemblage.

An unseen cybernetic ghost,
a steel leech with us as host,
devouring both our voice and touch,
a whipping post where we can boast.

We’re all together yet alone,
cold and phantasmagorical,
trusting the seer that is our phone,
allegorical oracle.


13 July 2018
Michael H. Hanson ©2018

Thursday, July 12, 2018

Sea Isle City

This painting, made in my senior year at R.I.S.D., was one of eight shown in my first gallery exhibition a few months later in Boston:

Sea Isle City
7" x 9", oil on wood panel, 1969
Private collection, Massachusetts

The narrative is more autobiographical than usual, based on a childhood memory - a visit to Sea Isle City, New Jersey in the early 1950s, me sitting on a stoop wearing a straw cowboy hat, attended by a young baby-sitter whose bathing suit was much more modest in real life. A while back I looked at street views of the town on Google Maps and these cottages on stilts are long gone, but I remember them clearly. There's a photo in the family album too:


July 1952
Sea Isle City, New Jersey

Saturday, May 19, 2018

Woman Burning a Photo

Woman Burning a Photo
12 1/2" x 10", oil on linen, 2018

I've long held the belief that the viewer should be free to make their own interpretation about the meaning of the narratives in my work. Not wanting to influence the viewer's thinking, I rarely say much about what a painting may mean to me; my titles are usually minimal for the same reason. That said, I enjoy hearing people's interpretations, and the ideas about the same painting can sometimes be wildly different.

In my ongoing solo exhibition in Boston, Adam Adelson, Director of Adelson Galleries Boston, wrote short wall texts for each painting exhibited. Here's what he wrote about this painting:
"An image of a man begins to ignite in the hands of a woman who stands over a table – set with a candle and dish with water.  The ritual of burning this image appears premeditated, as she’s ready to extinguish the flame as soon as it destroys the image.  She and her dog watch the flame start to engulf an image of the older, unassuming gentleman.  We are not sure what her relationship is to this man, but it’s apparent that he had harmed her in some way.  Clearly, the man is not as innocent as he seems in the photograph.  We have all experienced ending an unhealthy relationship, and each person has their own process of letting go so that they can move on with their life.  The woman’s private ceremony unburdens her without harming anyone." 
Other interpretations are also welcome.

This composition took four drawings to fully develop:

Woman Burning a Photo, drawing #1
10" x 11", pencil on paper, 2018

Initially, the woman was using a match to burn the photo. A painting of a dog - perhaps looking more like an anteater than a dog - was behind her on the wall.

In the next drawing, the dog went from an image on the wall to becoming the woman's companion by her side, the hand-held match became a candle, and a bowl of water was included to eventually extinguish the fire. I also added the androgynous figure, a witness.

Woman Burning a Photo, drawing #2
9" x 9", pencil on paper, 2018

The second person was removed in the third drawing; he/she seemed to dilute the narrative and I felt the composition was stronger with just the single figure. The faithful dog remained.

Woman Burning a Photo, drawing #3
10" x 8", pencil on graph paper, 2018

The final drawing was an enlargement of #3:

Woman Burning a Photo, drawing #4
12 1/2" x 10", pencil on graph paper with green oxide pastel tone on reverse, 2018

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Saturday, April 21, 2018

Haley Smoking

New painting:
Haley Smoking
7 1/2" x 6", oil on linen, 2018

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Upcoming solo exhibition in Boston:

Contemplating Figures
Andrew Stevovich

May 4th through June 24th, 2018

opening reception
Friday, May 4th, 6 – 8 pm

Adelson Galleries Boston
520 Harrison Avenue
Boston, MA 02118
617.832.0633

www.adelsongalleriesboston.com

Saturday, April 7, 2018

Nadine with a Cigarette

A new painting of Nadine ...around the twelfth time she's made an appearance in my work since 1974; usually she's alone, though in four paintings she's with other figures. Since I'm counting, this is also the ninth painting I've done of a single individual smoking.

Nadine with a Cigarette
9 1/2" x 7", oil on linen, 2018

Three earlier paintings of Nadine:

Nadine with Espresso
24" x 17", oil on linen, 1998
Private Collection, New York

Nadine's New Dress
6" x 4", oil on linen, 2009

Nadine with Two Demons
1/2" x 4 1/2", oil on linen, 1998
Private Collection, England

And here's one time when - by way of three posters on a wall - she was transformed into a chanteuse:

The French Singer
28" x 36", oil on linen, 1998
Private Collection, New York

Saturday, March 17, 2018

Eddie's Brother

Eddie's Brother
8" x 6", oil on linen, 2018

This composition was developed with just two drawings. The first one was made over twenty years ago and added to my collection of drawings - ideas for future paintings - where it would resurface from time to time. 


Eddie's Brother (drawing. #1)
5" x 3 1/4", pencil on graph paper, 1996

For whatever reason, it caught my eye three weeks ago and I felt it was time to realize it in paint. I made a second and larger drawing, and used it to transfer the image to the linen:


Eddie's Brother (drawing #2)
8" x 6", pencil on paper with burnt sienna pastel tone on reverse, 2018



A different man carrying a similar bundle appeared in a 1984 painting:


Carnival
8" x 13", oil on linen, 1984
Private Collection, Massachusetts

Saturday, February 10, 2018

Two Women with a Monkey

The second of my monkey paintings is finished:

Two Woman with a Monkey
18" x 20", oil on linen, 2017-2018

There are four significant changes between the painting and the final drawing: the monkey's position, the structure of the porch, the right arm of the blonde woman, and the addition of two more oranges.

Two Women with a Monkey (drawing #2, final)
18" x 20", pencil on paper with pastel tone on reverse, 2017

The first orange - the one being offered to the monkey - provided a bright warm note in a composition that I planned to fill with cool greens and blues as well as greys and blacks. However, as the painting progressed, I had the idea to add two more oranges which proved fortuitous, creating a subtle circular movement with more energy and interest.

detail, ca. 13" x 8"

There are two more drawings related to this painting: the initial sketch and a monkey study for the new position on the table.

Two Women with a Monkey (drawing #1)
6 1/2" x 7 3/4", pencil on graph paper, 2017

Two Women with a Monkey (monkey study)
8 1/2" x 12 1/2", pencil on paper with pastel tone on reverse, 2017

This concludes my monkey paintings for now, though I have a couple other drawings with potential, including one with a lot of monkeys. Will see. 

Lots of Monkeys
7" x 8", pencil on graph paper, 2017 

Saturday, December 16, 2017

Playing with Mr. Epps

Playing with Mr. Epps
10" x 10", oil on linen, 20177

A recurring narrative in my work involves one of two cats: Mookie, a grey tabby, and Mr. Epps, a black cat. Mookie belonged to my son for eighteen years; Mr. Epps to someone I knew in my 20s who had named him after Preston Epps, the bongo player. 

In the drawings for this composition, I was thinking to use Mookie, but when I painted the woman's dark dress I thought the counterpoint of a black note worked better then a grey note.





The composition is based on a triangle - a classical solution that helps creates weight and solidity - and I went with a background of light muted warm tones to further enhance its strength. The ball is the only bright color, and is echoed by the dark red of the chair upholstery and the light red of the horizontal line dividing the upper and  lower sections of the wall.


Playing with Mr. Epps (drawing #3, final)
10" x 10", pencil on paper with pastel tone on reverse, 2017


Besides changing the cat from Mookie to Mr. Epps, the only other significant change from the final drawing to the painting was eliminating the treat on the table top and giving the woman a red ball to hold ... and having both paws on the table instead of one.



Playing with Mr. Epps (drawing #2)
7 1/2" x 7 1/2", pencil on graph paper, 2017
Playing with Mr. Epps (drawing #1)
6 1/4" x 6", pencil on graph paper, 2017

Saturday, December 2, 2017

Little One

New painting:

Little One
6 3/4" x 4 1/2", oil on linen, 2017

The image continues my ongoing narrative of individuals with demons, devils, or imps, and in this case a blue goblin. I've often been asked about the meaning of these strange creatures that have appeared in my work with some regularity over the years, but - as with all my narratives - I like viewers to have their own interpretations of a painting.

This painting is a bit unusual in having no preliminary drawings. The composition was drawn directly on the linen.

Here's a painting from 1995 with two devils being served chicken nubs:

Woman with Two Devils
6" x 7 3/4", oil on linen, 1995
Private Collection, New York, NY

And one who doesn't need the presence of a human:

Demon with Drink
4" x 3 1/2", oil on linen, 2009

Two paintings in progress:

Two Women Feeding a Monkey, in progress
18" x 20", oil on linen
Playing with Mookie, in progress
10" x 10", oil on linen

Saturday, November 4, 2017

Loretta Feeding a Monkey

The first of my two "monkey" paintings is finished:

Loretta Feeding a Monkey
14" x 16", oil on linen, 2017

A major change from the final drawing was the removal of the awning across the top. I envisioned the awning having yellow and white stripes, but after the oranges and the red blouse were painted, the awning no longer seemed a positive contribution to the composition. The yellow would have also diminished the strength and movement of the orange and red notes.


Woman Feeding a Monkey                           (drawing #4, final)
14" x 16", pencil on paper with pastel tone on reverse, 2017

Another change - small but still important - was removing the woman's left fingertips from under her right arm. When making a decision like that, I'll repeatedly cover and uncover the part in question to see if the composition looks better with or without it ... if the part adds no real improvement, it gets taken out. 

Now the second of the "monkey" paintings is on the easel:

Two Women Feeding a Monkey                    (drawing #2, final)
18" x 20", pencil on paper with pastel tone on reverse, 2017

Saturday, September 16, 2017

Monkey Paintings

Inspired by recent travel experiences, I've developed three compositions around the narrative of monkeys being fed oranges. 

Woman Feeding a Monkey                           (drawing #4, final)
14" x 16", pencil on paper with pastel tone on reverse, 2017

Two Women Feeding a Monkey                    (drawing #2, final)
18" x 20", pencil on paper with pastel tone on reverse, 2017

Woman Feeding Lots of Monkeys                 (initial sketch)
7" x 8 1/4", pencil on graph paper, 2017
note: when fully developed, this image will be either 28" x 32" or 35" x 40"

The first of the images, Woman Feeding a Monkey (14" x 16"), is in progress on the easel.


in progress: Woman Feeding a Monkey

14" x 16", oil on linen

Below are three more drawings as I worked out the composition for this first painting. Drawing #3 combined drawing #1's figure and oranges with #2's monkey.

Woman Feeding a Monkey                           (drawing #1)
4 1/8" x 4 1/8", pencil on graph, 2017

Woman Feeding a Monkey                            (drawing #2)
4 3/4" x 5 1/2", pencil on graph, 2017

Woman Feeding a Monkey                            (drawing #3)
7" x 8", pencil on paper, 2017

Wednesday, June 28, 2017

Jessie's Diner

Finished:
Jessie's Diner
35" x 65", oil on linen, 2016-17

The view outside the windows was the last area painted and I tried a number of ideas before finally settling on a single building with an attached wall and a swath of sky. Originally I thought to have a second building on the left side, but this solution brings in more light and balances the density of the right side. It also solves the problem of how to stay minimal and it doesn't distract from the interior.

The real-life view out the diner windows offered me little inspiration: a stretch of US route 20 and a wide parking lot with a large windowless building on the right side - the Northborough Highway Department truck terminal - and a barn-like structure filled with sand on the left.



Since the painting is large and the photo above is small, here are two details:

ca. 34" x ca. 37"
35" x ca. 39"

quotes

"There is more power in telling little than in telling all."
- Mark Rothko

“The mind loves the unknown. It loves images whose meanings are unknown, since the meaning of the mind itself is unknown.”
- Magritte

"Now, the idea is to get everything right -- it's not just color or form or space or line -- it's everything all at once."
- Richard Diebenkorn

“What I am seeking is not the real and not the unreal but rather the unconscious,
the mystery of the instinctive in the human race.”
- Amedeo Modigliani