For Sale Baby Shoes (never worn)

Short Story by Hemingway    acrylic on silk    40 x 40 inches    by Nolan Haan

Where does the inspiration for a painting come from? My antennae are always scanning the universe for ideas for new work. When my friend, Dee Conors, told me about Hemingway's shortest of short stories, my artist brain went into high gear. According to legend, Hemingway made a bet with his publisher that he could write a short story in six words--with a beginning, middle, and end. The publisher, thinking this impossible, took the bet.

Hemingway simply said, "For sale, baby shoes, never worn." Hemingway was known for his brevity, but a story in six words set a new world record.

Everything about this impressed me. Six simple words became so powerful when used in this context. Multiple interpretations, depending on one's point of view, engaged the reader. I had to somehow collaborate with Hemingway to reinterpret his words in my style. Since I do paintings of cinder block walls, my immediate idea was some form of graffiti. The words scrawled on a distressed wall, perhaps. Or stenciled words streaked with mold and drips. As I walked my dog that evening, a piece of paper, stapled to a telephone pole, advertized a garage sale. Click.

A concept was taking shape. In my mind's eye, I envisioned a cinder block wall on which someone had glued a paper selling baby shoes. I wanted to keep it simple, just as Hemingway had. As a long time resident of south Florida, I've always been fascinated with shadows of tropical plants cast on houses, walls, and sidewalks. This was the ideal time to incorporate them in a painting. My concept was complete. Now I just had to paint it.

The finished painting is presently on loan and hanging in a friend's house. Every new visitor to her home is always asked, "What does this painting mean to you.?" We are amazed by the range of answers, which proves how much a viewer brings to an artwork. This is how it should be. A viewer's input and interpretation is as valid as the artist's.

P.S. If you google "for sale baby shoes never worn" you'll find entire websites dedicated to short stories in six words. If any of you write one, I'd love to read it.

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Thank you for taking the time to read my blog, which I post every Sunday. If you have any questions, I will do my best to answer them. To see more images of my work, please visit my website: www.AddictedToWalls.com. Have a good week and keep those antennae up.

The Mondrian Bathroom

I had never heard of Mondrian. I was a science teacher and wildlife artist with no formal art training or knowledge of art history. It was 1988, and I had just declared myself a contemporary artist. I had my concept—portraits of cinder block walls—but my lack of education was obvious. To overcome this deficit, I decided to teach myself art history. My method was simple: choose a famous artist, study his/her life, artwork, methods, and philosophy, then close all the books and create a painting in that style. Of course, I also wanted to integrate my cinder block walls into the new artwork. My first attempt at these appropriation paintings featured Mondrian. The working concept was: imagine finding an undiscovered Mondrian in someone's basement.

Forgotten Mondrian by Nolan Haan     40 x 60 inches    acrylic on silk

For new readers unfamiliar with my work, this is a trompe l'oeil (fool-the-eye) painting, using acrylic paint on silk. Everything is painted: the Mondrian, the cinder block, and the spotlight effect. While working on this painting, I read a book entitled Subliminal Seduction, which exposed the practice of advertisers who embed subliminal suggestions into their ads. For fun, I incorporated the word SEX into the cinder block texture on the lower portion of the painting. It's supposed to work subliminally, but if you look closely, you will see the letters S-E-X. This proves that (some) artists will do almost anything to entice a viewer to better enjoy the art.

Ten years after completing the painting, I sat staring at a tiny bathroom in my newly acquired historic house in Fort Lauderdale, Florida. The bathroom needed complete renovation, so the canvas was blank. The house was built in the 1920's, so I decided to introduce art deco elements throughout. Since Mondrian was a prominent artist of the era, he was my inspiration for the half bath.

The bathroom was to feature the Mondrian design in tile on the main wall, with gray tiles on two walls and a mirror on the other. The floor was painted with faux tiles in shades of gray (to reflect image of the Mondrian.) I drew the design on graph paper to the exact scale of the wall, then purchased tile in the colors needed. Having never laid tile, I purchased a book entitled Setting Tile, borrowed a tile saw, and got to work. I'm not fishing for compliments, but you've got to admit, this bathroom is FIERCE!

The Mondrian Bathroom    Home of Nolan Haan   Ft. Lauderdale, Florida

So, for those of you agonizing over what color to paint the bathroom, I say, "Throw caution to the wind" and have fun. Find a source of inspiration and go for broke. 

Thank you for reading my blog, which I promise to post each Sunday. Please bookmark the page, so you can find me again. Any Facebook "News Feeds" with a link to my blog are greatly appreciated!! To see more of my artwork, please visit my website: AddictedToWalls.com. I hope you have an inspired week.

A flock of Cinder Blocks

My faithful blog readers deserve to be way ahead of the curve in regards to the twists and turns of my artistic output. As promised when I started this blog, I want to share with you any new directions that I am considering. This is a risk for an artist, because once a series of paintings is proposed, it is at the mercy of people’s opinions, both positive and negative. Every comment that an artist hears about a work in progress has the power to affect the artwork. In the interest of full disclosure, however, I will take that risk. So, in the foreseeable future, my next major series will be (insert drum roll): A Flock of Cinder Blocks.

What you see above is a "sketch" of the concept, which is how I always start my paintings. I will do many of these before I choose my first flock. A simple line drawing is all I need. The textures will be added as I actually paint the cinder blocks on my silk.  The painting will be mounted on a shaped panel. This is an example of a finished painting:

DNA   acrylic on silk, mounted on shaped panel   48 x 70 inches

For now, I am playing with design and relationships. In this series, I obviously removed the constraints of gravity. My concrete blocks will tumble and float and intermingle across the expanse of a large wall. The scale of each will be much larger than life. They will appear light and feel heavy at the same time. Each block will be a separate painting, then hung on the venue wall to form the flock. As usual, each painting will be shaped like the cinder block itself. If two or more cinder blocks overlap, they will be done as one painting.

This series presents many challenges, but I am extremely excited to give it a try. It will take many months to complete, and you will be with me at each stage.  Oh, and if you know anyone with a large, vacant wall, please let me know.

Thank you so much for taking the time to read my blog. If you are a fan of cement, I invite you to visit my website: AddictedToWalls.com. I would love to hear from you, so please don't be shy and leave a comment. Take care, and watch out for those flocks of cinder blocks.

Licking my Wounds: the Art of Rejection

Rejection is part of the normal life cycle for creative people, so learning to cope is critical to our long term survival. When that thin envelope arrives from the “call for entries” venue, we already know that the first words will be, “This year there were many strong entries, unfortunately…” Rejection notices always arrive in thin envelopes. The thick ones are reserved for the anointed few, packed with information on delivery and pickup, etc. Has anyone ever read an entire rejection letter? Mine are usually crumpled up before I finish the first line. My initial reaction is anger, directed at the “stupid judges” of course.  What were they looking for, anyway? Having done my due diligence by  googling them, I knew exactly what they liked. I had chosen paintings specifically with them in mind. How could they have not seen the fabulousness of my entry?

The anger stage is followed by embarrassment. “Will anyone remember I entered this?” You get a knot in your stomach every time you see an ad for the event. The final insult comes when you see the show itself. You go from picture to picture thinking bitterly, “How did this get in and not mine?” “How did this get in and not mine?” “How did this get in and not mine?”  You lick your wounds for a while, but hopefully you have the strength to subject yourself to it all over again.

King Eider by Nolan Haan       oil on panel       7 x 10 inches

I learned a good lesson many years ago that helps me cope with rejection. As many of you know from earlier blogs, I placed second in the 1982 Federal Duck Stamp competition. This was a big deal, because all the best wildlife artists in the country enter, and the winner won two million dollars. My entry of a king eider (first duck I ever painted) received perfect scores of 10 from 4 of the 5 judges. What very few people know, however, is that I re-entered this same painting (perfectly acceptable) a couple years later, fully expecting it to win. Imagine my shock when it was eliminated in the first round, with all five judges voting “OUT.” It never even got to the scoring rounds. The same painting, two different judging panels, two different results. Later that year, the painting was chosen for an exhibition at the Leigh Yawkey Woodson Art Museum and went on their world tour. I had learned a valuable lesson.

Intellectually I can accept rejection easily. I understand that many factors come into play, only one of which is the quality of the artwork. Emotionally, however, rejections still hurt. Each artist thinks his/her work is da bomb. Unfortunately, this bravado is thin, and every rejection chips away at our fragile belief in ourselves. To my fellow artists I say, next time that thin envelope arrives, think of my king eider getting all “outs” and believe that your work has merit.

*****

Thank you all for taking the time to read my blog, with a special shout out to all the readers who cross-bloggenated from Courtney’s “Breaking Down The Big, Beige Box.” I truly appreciate every page view, so please bookmark the page and share it with all your friends. I offer a new post each Sunday. If you haven’t been to my website, major treats await you at AddictedToWalls.com. Take care, and have a productive week.

Nolan Haan: "Naked"

I won't ask for a show of hands, but I'm sure many of you have asked yourselves, "What does a cinder block look like completely nude?" My latest painting, "Naked," resolves that burning question. Enjoy.

Unadorned. Unapologetic. Fully exposed with all its faults, yet proudly displaying its sculptural beauty. No smooth skim coat. No fancy stucco finish.  Its beauty lies in its imperfections--a lesson, perhaps.

The painting is quite large, 72 x 36 inches, and is painted in acrylic on silk, then mounted on hardboard cut to the shape of the concrete block. It's a trompe l'oeil (fool-the-eye) painting, completely flat. The center holes are cut out, so you see the venue wall through them. The artwork is mounted two inches from the wall, casting beautiful shadows.

My cinder block grew from humble beginnings:

As usual, the first step is to block in the shapes, using gesso of various shades. No detail at this stage, only basic shadows and solid planes of color. The hardboard upon which the painting will be affixed is cut later using a common jigsaw. For now, I must paint the image slightly larger, allowing for the wrapping around the edges of the hardboard. 

 

I am adding the final details and getting excited about the grand unveiling (my current and former tenants can attest to how exciting that is!) My studio is a 400 sq. foot room in my historic apartment building in Fort Lauderdale, Florida.  Each month I hang my most recent painting in the public hallway, under perfect lighting of course! If you're ever in South Florida, please stop by.

UPDATE: "Naked" had its world unveiling at the Boca Raton Museum of Art's "All Florida" exhibition, curated by Valerie Leeds (Flint Institute of Art.) Please see the following post with pictures from the event.

Thank you for taking the time to visit my art blog. Please bookmark this page so you can read the new entry each Sunday. If you have any questions, please ask, and don't forget to check out my website: AddictedToWalls.com. Take care and have a  good week.

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My Heaven. My Hell. My Studio

Nolan Haan 's art studio featuring "Monday"    2010

My art studio is a 12' x 14' messy affair, as you can see. Every artist dreams of the huge, open studio space with soaring windows and high ceilings, but most of us have to make do with a modest, cramped, frustrating space. Some artists think, "If only I had a great studio, my artwork would be so much better." This assumption is merely an excuse. In fact, the opposite may be true. An artist friend of mine finally got his dream studio--the big, expansive table, white walls, surround sound stereo, track lights, the works. He couldn't wait to begin producing fantastic new art. After a couple months, he still hadn't completed one new piece. "I'm blocked," he said. "Now that I have this amazing space, everyone expects something so grand that I can't get started. Every idea seems unworthy." Lesson learned. I continued to covet but stopped complaining about my work space. 

The painting in the studio photo is entitled "Monday" and was exhibited at the Frost Art Museum as part of the South Florida Cultural Consortium Fellowship's reception on May 25, 2011. It is now part of the Frost's permanent collection. 

 

I so appreciate your taking the time to read my blog. Remember to bookmark this page so you can find me again and please share the link with your friends. I'd love to hear from you, so don't be shy. Questions and comments are welcome. Take care, and whatever your situation, MAKE IT WORK.

2 comments:

M&M Studios Inc said...

great stuff! your studios is amazing!

May 20, 2011 10:24 AM

Nolan Haan said...

Thank you! I always try to keep the studio neat, but it always spins out of control.

The Tomato Ladies

My art career was not destined to take the normal trajectory. Upon graduating with a Bachelor of Science degree, I spent several years in the Peace Corps, teaching science in Western Samoa. During this time, I taught myself to paint, using the local people as my models. With no formal art training, I was forced to experiment with techniques. Painting in oils came easily to me, and I was particularly drawn to character studies of the elders of the village.

Old Lady Smoking   oil on canvas  30 x 36"

My love for adventure took me to Iran, where I taught science at an international school. Within a year, however, I was bicycling through the rice paddies of central Java, Indonesia, with my sister, looking for a place to build our Bamboo Dream House.

My sister had recently graduated from college and wanted to join me on my world travels. We chose Indonesia because we could afford the $2.50/week lifestyle. We rented a deserted rice paddy (for $1/month) and proceeded to build our house out of bamboo purchased in the local village. Since we had absolutely no idea what we were doing, the locals had a new source of entertainment. In spite of our lack of construction skills, a forest of bamboo finally became our home.

The lack of electricity and running water seemed like minor inconveniences.  We collected rain water from the roof into barrels and worked at night with kerosene lanterns.  In a mosquito netted area, I set up my easel and began to paint.

Every week we shopped in the local market for our produce, and one old woman always greeted us kindly and gave us a good price for her tomatoes. We called her The Tomato Lady. I knew immediately I wanted to paint her portrait, to which she reluctantly agreed. This painting remains one of my favorites and evokes fond memories of my three years spent in Indonesia.

The Tomato Lady     oil on linen     16 x 20 inches

Flash forward thirty-five years, and I am now living in South Florida. My portraits of people have evolved into portraits of cinder blocks, but the Tomato Lady still spoke to me. I decided to update her in my new style by painting her on a fool-the-eye shard of cement. 

The Tomato Lady     acrylic on silk, mounted on hardboard    60 x 40 inches    2010

Well, that is the saga of my tomato ladies. Thank you for reading my blog. Please bookmark this page so you can find it again. I post every Sunday, so please tell your friends. If you have any questions or comments, I'd be happy to hear from you. Also, if you haven't checked out my website, here is the link: AddictedToWalls.com.  Take care and have a good week.

Secrets Revealed: How to paint like me

Often I have been asked how artists get their ideas and inspirations. Most artists would agree that a concept can come from almost anywhere: a comment overheard on the subway, a line of text in a blog, a picture or painting one sees by chance. The photo of the painting "Raft of the Medusa" by Gericault was given to me by an artist friend, Dee Connors. I was overwhelmed by the image, and knew instantly I wanted to do a painting based on it. My blog today will show you the various stages the painting went through.

Gericault    Raft of the Medusa

If you look closely at Gericault's painting, you can see the face I chose to paint in the lower middle/left. I enlarged it as much as I could in photoshop, but the working photo was quite pixilated, so I probably didn't get too close to the original. This is fine, because I wanted to make it my own anyway.

The first step is to block in the figure and shape of the cinder blocks, using thin acrylic paint in a watercolor consistency. All the major decisions as to placement are made in this stage. It is important for the mortar lines  not to interfere with an important features of the man's face. Using light umbers and yellow ocre, I indicate the highlights and shadows. I am not concerned with details yet. The painting is 40 x 40 inches and is painted on silk charmeuse.

Confident that everything is where it's supposed to be, I begin to refine the details with thin layers of paint. I am now sculpting the lips, nose, chin, eyes, and of course the cinder block. Both the skin texture and cement texture must be done concurrently. There is always a push and pull to keep the balance equal.

 I begin to introduce colors like burnt sienna, which will glow through the subsequent layers of paint. I delineated the eyes for proper shape and placement. To add interest in the cinder block texture, I introduce a bit of stucco in the lower portion of the painting. I have to commit to this from the first layer, or it'll give me problems later.

 By now I'm feeling good about the piece.  All the problems have been worked out (one trick is to look at the painting in a mirror. The reversed image shows any flaw in the design.) Each layer of paint adds richness, and as the shadows deepen (to both the figure and the cinder block), the textures become accentuated and the drama reveals itself. The drudgery is over and the fun begins.

Voila! The grand unveiling. And then the doubts begin. Did I go too far? (one of the hardest aspects of painting is knowing when to stop!) Did I lose too much of the cinder block? Did it get too dark? There is always a moment when the painting looks good, but you think that with one more push, it can be great. "Do I risk everything and take it one more step?" Every artist has to struggle with that question. Sometimes you lose a piece because it went too far. But it is very important to be willing to take that risk.

Well, thank you for taking the time to read my blog. If you have any questions, please ask. I'll try to post something new each Sunday, so please come back to visit. Hope you have a productive week.

To see more paintings of cinder block walls, please visit my website: www.AddictedToWalls.com

Urban Cave Paintings

My transition from wildlife art into contemporary art was a series entitled  "Urban Cave Paintings." I combined my love of wildlife, my fascination with prehistoric cave paintings, and my new passion for cinder blocks. This series answered the question, "What if you bought a house and went into the basement, only to discover a cache of ancient cave paintings?"

Urban Cave Painting: Wounded Stag (Lascaux)     acrylic on silk    60 x 40 inches

In 1991, this painting was shown in the Leigh Yawkey Woodson Art Museum's "Wildlife: an Artist's Perspective" and was chosen for their world tour. It was the first time one of my cinder block paintings was exhibited, so it was a proud moment for me. In the catalogue, the reviewer wrote:

“...Another unusual work is “Urban Cave Painting:  Wounded  Stag” by Nolan Haan.  The only wildlife in sight is a crudely rendered prehistoric antelope on a cinder block wall.  All of this is rendered in acrylic on silk in perfect illusionistic detail.  It is one of the few works in the show with depth of content.”  

                                                       —Ron Netsky, Professor of Art, Nazareth College

This how the painting looks draped, prior to stretching on stretcher bars. I decided to base this series on famous cave paintings from around the world, often taking artist liberties with the color and design. The next painting featured the swimming deer, also from Lascaux.

Urban Cave Painting: Swimming Deer    acrylic on silk    40 x 60 inches

Urban Cave Painting: Elk and Horses     acrylic on silk    40 x 60 inches

I took some liberties with Elk and Horses. After studying the typical stylistic proportions the ancients used, such as small heads, distended bellies, and tiny, thin legs, I created my own horses. Apologies to Lascaux for presuming to improve and their design.

Urban Cave Painting: Falling Cow (Lascaux)     acrylic on silk     40 x 60 inches

Urban Cave Painting: the Hunters     acrylic on silk     36 x 72 inches (diptych)

The Hunters is based on cave art found in Africa. I found the depictions of humans (rare in Europe) to be very contemporary in design.

Urban Cave Painting: Spot lit Bull     acrylic on silk     40 x 60 inches

I conclude my blog today with one of my favorites: the Spot lit Bull. I hope you have enjoyed exploring my urban caves. Please bookmark this page so you can find me again and please come back often. I'd love to hear from you with any questions or comments, and don't forget to visit my website: AddictedToWalls.com. Take care and have a good week.

Cinder Block: an autobiography

I taught myself to paint while serving as a Peace Corps volunteer in Western Samoa. Since my first painting was a portrait of a student (I was a science teacher,)  I was imprinted on portraiture. Throughout my art career, it's always been my first love. For a decade, I traveled the world and did character studies of indigenous people: 

Morning in Samoa   by Nolan Haan     24 x 36 inches   oil on canvas

When I returned to the United States, I became a wildlife artist and specialized in portraits of birds:

Nolan Haan     Peacock   oil on panel     40 x 60 inches

When I finally dedicated myself to contemporary art and began doing paintings of cinder block walls, it was inevitable that I would eventually paint portraits of cinder blocks.

What?

When asked at cocktail parties what I do, my answer is "I paint portraits of cinder blocks." As you can imagine, this is usually met with a glassy stare and a hasty retreat. I draw strength knowing that Andy Warhole once had to say, "I do paintings of Campbell's  soup cans." And we all know how that turned out. On occasion, however, someone will ask the logical next question, "Why?"

It took me a long time to answer that question, to realize that these concrete blocks were actually portraits of myself. I never painted a traditional self-portrait, always reluctant to reveal so much about myself. Subconsciously, I was using concrete as a diary. One by one,  the cinder blocks were documenting my emotions, my states of mind--my life. My concrete alter ego is less self-conscious, so honesty comes more easily. A life story told in the language of cement...

Close to Silence     acrylic on silk, mounted on hardboard    70 x 40 inches

This series showcases the sculptural integrity of individual blocks, often rendered larger-than-life. The process begins with two questions: "What do I wish to convey about myself?" followed by, "How can cinder block convey this emotion?"

Since they look so 3-D, most viewers go first to the technical aspect of the work. My hope is that the content will also be explored. I want viewers to see something of themselves reflected back.

Nolan Haan in his studio, holding Close to Silence

When asked for a picture of myself in my studio for a forthcoming book, TENWORDSANDONESHOT, this was my submission. (The painting is ready to be mounted on a piece of hardboard cut to the exact shape of the block.) It was a relief to have the cinder block speak on my behalf.

Thank you for taking the time to read by blog. Please bookmark this page so you can find me again. If you have any feedback or questions, feel free to post here or email me at nolanhaan@att.net. Also, my website is awaiting your visit at www.AddictedToWalls.com. Take care, and have a productive week.

Why Cinder Block? The birth of a concept

For eight years I worked as a wildlife artist, painting wolves, ducks, and raptors. My career, though successful, felt restricted by the confines of the genre.

Nolan Haan      Red-tailed Hawk   oil on linen     50 x 50 inches  1987

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My best artist friend, Carlos Cobos, was a contemporary artist, and whenever we exchanged studio visits, I marveled at his artistic freedom. He didn't have to count primary feathers or sit in duck blinds. His artwork evolved from painting to painting, a diary of his life. I yearned to try my hand at contemporary art, so for about a year, I kept my antenna up for something new to reveal itself, something no one had done before.

One evening, while sipping a gin and tonic after a hard day's painting, I leaned back and stared at the cinder block studio walls. They were spattered with years of paint; they were scarred with pits and scratches and ill-applied mortar. These walls had been with me for years, but at that moment I acknowledged them for the first time. It was as though they were saying, "Look at me." I suddenly saw them as beautiful, comprised of individual blocks, each unique. "If you could cut out a section of that wall," I remember thinking, "It would fit right in a contemporary art gallery."

I had found my muse.

Nolan Haan      Basic Gray    Acrylic on Silk  40 x 60 inches   1989

To see more of my cinder block paintings, please visit my website: www.AddictedToWalls.com

Progress Report: A Flock of Cinder Blocks/Discrimination

My first Flock of Cinder Blocks is comprised of ten individual paintings that will comment on the various ways we discriminate against the physically handicapped. The paintings are in acrylic on silk, mounted on shaped panels. Three paintings are now completed.

Physically Handicapped      acrylic on silk, mounted on shaped panel     28 x 32 inches

This is the star of the series. Each painting floats two inches from the wall, so shadows of the cinder blocks will be cast on the venue wall, adding another level of interest.

Avoidance     acrylic on silk, mounted on shaped panel     52 x 34 inches

When confronted with a physically handicapped person, we are sometimes guilty of avoidance. One of my best friends is wheelchair bound. I love spending time with him, but everything is a bit more complicated. If we go to an art show or the supermarket, he has to be helped into the car, then the wheel chair has to be stowed in the trunk. My house has eight front steps, so if I invite him for dinner, there is the issue of getting him into the house. Nothing major, just an extra effort. Sometimes that small effort is enough for me to refrain from inviting my friend to a function. Avoidance.

Repulsion     acrylic on silk, mounted on shaped panel     50 x 32 inches

Sometimes the physical deformity is so great that our immediate response is repulsion. Just as we are genetically predisposed to respond positively to beauty within our own species, deviation of the norm can elicit repugnance. Once I was eating in a restaurant when a severely handicapped person was seated at a table across from me. I am ashamed to say that I literally lost my appetite. Intellectually I told myself that he was a person just like me, but physically I could not eat. My compassion could not override my repulsion. 

Below is my working sketch for this series of paintings, showing the scale with the silhouette of the man. I  substituted the three cinder block sketches on the right with the first three paintings.

 Sketch for A Flock of Cinder Blocks: Discrimination     showing progress

Thank you for following my progress on this new series. I appreciate your support of my blog, and I encourage you to post comments. If you have experienced discrimination, I'd like to hear from you. Perhaps your story will become part of a series. Please visit my website at www.AddictedToWalls.com. Take care and have a prejudice-free week.

The Physically Impaired

 How do you respond when you encounter a person who suffers from a physical deformity? My first "flock of cinder blocks" will explore my personal reactions--none of which I am proud of. As I work on this series of ten paintings, I will study the psychology of discrimination and share these findings with you. My original, "uneducated" design is shown in the blog entry below. After much soul searching, I determined that, depending on the severity of the deformity, I respond in one of three distinct ways: repulsion (avoidance), indifference (usually feigned,) and curiosity. My cinder block alter egos represent these reactions to the physically impaired. I completed the star of the series today. One of the perks of reading  my blog is being among the first in the world to see my new artwork.

Warning: the painting below is not for the faint of heart and may be disturbing to some viewers. It is recommended for mature audiences.

The Physically Impaired     acrylic on silk, mounted on shaped panel   28 x 38 inches   Nolan Haan

 

Obviously, seeing a physically challenged cinder block is much easier to bear than if it were a human being depicted. This is precisely why I work with cement blocks. Viewers are less shocked and will spend more time exploring delicate subject matter if not confronted with the human form. A person missing a third of his body would be uncomfortable to look at for most audiences. Our degree of empathy is less powerful when the subject is cement.

Note: to see this painting in progress, please scroll down and read earlier posts.

My blog next week will feature the first of the cinder block reactions to the unfortunate one shown above. Thank you for taking the time to read my blog, and please leave a comment if you feel inclined. As usual, I ask that you bookmark this page and share with your friends on Facebook and Twitter. This week I revamped my website: AddictedToWalls.com, so please visit. Take care and have a prejudice-free week.

First Cinder Flock: Discrimination

As I embark on my new series entitled "Flocks of Cinder Blocks," I will take you on as step by step tour of the entire process. For my first flock, I chose discrimination of the physically impaired as the subject.

When I come upon a person who is physically challenged, I react in specific ways. Depending on the severity of the deformity, I tend to respond with either avoidance, indifference, or curiosity. I am ashamed of these reactions, but I believe they are typical human responses. To illustrate this concept, I drew a prototype with a free program, Google Sketchup.

Sketch for "Confronting the Physically Impaired" by Nolan Haan  7 x 32 feet 

The scale is for a 32 linear foot wall, which I consider an average size installation. Each of the cinder blocks will be a highly realistic trompe l'oeil painting in acrylic on silk. Each will be painted separately and mounted on a shaped panel using acid free adhesive. It is time to begin the painting...

My working sketch for the physically challenged cinder block is:

The first step is to cut and wash the silk, using cold water and a gentle shampoo. This pre-shrinks the fabric, so it won't respond to the water based acrylic paint and gesso that is later applied. The silk is air dried and then ironed:

Contemporary artist Nolan Haan preparing silk charmeuse for painting

Silk charmeuse is difficult to work with, but because is has little texture, it does not compromise the effect of cement that I strive for. To keep it square, I tape the edges with masking tape.

The shape of the cinder block is carefully sketched on the silk.The basic planes are blocked in using Golden Gesso. I buy black and white gesso to make various shades of gray.

I do not worry about details at this stage. I want a layer of gesso on the entire surface, and I want to be sure the shapes are all correct.

The gesso layer is complete.

In next week's post, I will show the layering in of the cinder block texture. As usual, I am appreciative of your time spent reading my blog. Please bookmark the page and share it with your friends. To see more of my artwork, please visit my website: AddictedToWalls. This week I was profiled in the Cultural Quarterly-- you don't miss that riveting read! Questions and comments are most welcome, so don't be shy. Take care,  and I'll see you next week.