To start these thoughts I have to say that there is no 'wrong' way to render art. There is an infinite amount of ways that you can express yourself through drawing. What is your message? What colors are you going to use? How do you get the lead of the pencil onto the paper? Do you push down hard? Do you lightly graze the surface and then rub it with your finger to smudge it? To me, it has always been about transference of mood to the paper to get down what is inspiring me.
My introduction to monochromatic drawing began in the mid to the end of the 80's in Anaheim, California. I lived with a bunch of people and we liked to stay up late and party. I would perch myself in the kitchen at this large round table in 'my chair' and begin to scribble or doodle. That is how these started. There are countless hours into these works. One drawing could have taken 200 to 300 hours to create. I used to make sure that I had at least 4 of the same color Prismacolor pencils on hand to be uninterrupted by a 2:00 AM materials crisis. You could hear the grinding of the electric pencil sharpener over the music and laughter. Combining surrealism with monochromatic renderings allowed me to hide some of my thoughts and feelings, I began to hide my friends names into the work. I drew faces and places that a person didn't recognize until I pointed it out. I could not believe the power of these pieces once I was done with them. I used to cut my own mats and would display them in the living room. The monochromatic drawings were involved in a 2-man show 5 years later in Fullerton California where they got the public and professional attention that they deserved. I draw mostly with s soft gray pencil and have left the bright colors for my paintings. The precision of the pencil is amazing and in many of these monochromatic drawings, hours were spent on a 2 x 2 inch section, piecing the stories and friends together.
I took figure drawing in college in California and at SAIC many times. I enjoyed the difference between drawing or rendering what I wanted to and drawing what was in front of me. This is where I was introduced to gesture drawing which has helped in loosening up my arms and hands. 'Big circles' I can still hear in my head from the instructor that was offering to the students what he/she knew. It was a matter of what each of us took from the lesson. I had hundreds of drawings that were thrown away by a careless instructor however a few do remain and I like to think of them as my classics.
My introduction to surrealistic drawing began very early in my life with the introduction to drawing by my parents. These works are a more refined process than they are off the cuff imagination. Some of these drawings took years to draw and imagine. A Different time is a drawing that illustrates a few introduction chapters of my life. Unknown always what is in store next. Surrealistic drawings is similar to a tableau whereas it tells a story by illustrations of events. The surrealistic drawing is a language of its own to me with abilities of it own. The details that go in are so small however makes a object stand out in place of everything around it. I learned how to push and pull the main objects/subjects to the foreground while creating a depth that reached for infinity.
These are older drawings created in the early 1970' and early 1980's. Inspired from magazines such as Omni, Scientific American and my own doodles that expanded into complex pieces.
These are childhood drawings that my parents kept and now I have the benefit of seeing and sharing with you. I am able to look at the pieces and see what is gong on in my head, where I was living at the time and more. Many of these pieces turned into art for my grandparents on both sides. The materials have changed and the quality the work has improved. I could take any of these drawings and incorporate them into any of the surreal artworks that I have. Some I feel are staples of my core being. The same message trying to be heard.