Because Twitter and facebook just are not enough, you can now also find me here:
The Gascot Method on tumblr.
&
Erotic Pop
Gots to love the social mediazzzes!
Showing posts with label blogs. Show all posts
Showing posts with label blogs. Show all posts
Wednesday, June 8, 2011
tumblr.
Because Twitter and facebook just are not enough, you can now also find me here:
The Gascot Method on tumblr.
&
Erotic Pop
Gots to love the social mediazzzes!
Tuesday, February 1, 2011
Monday, November 8, 2010
Naughty Bits
Because there's just not enough of me blabbing or posting images throughout the web, I've created yet another blog (quit your groans).
The new blog is called Naughty Bits and I hope many of you will join me there as well.
Naughty Bits Welcome Post:
Dear Readers,
Welcome to "Naughty Bits".
I created this blog to share my new series of Erotic Pop paintings. I have chosen to do so through a separate blog rather than post them on The Gascot Method to give supporters of my Latin Pop work the choice of keeping up with these works or not as I realize that erotic art is not everyone's cup of tea. For those who want to follow both blogs, but might read The Gascot Method from work, you will have the choice to view this series from home rather than have any NSFW imagery interrupt your lunchtime blog-reading. LOL.
Either way, I hope many will follow and enjoy (comments are always welcome). I plan to have a lot of fun with this body of work!
John G.
The new blog is called Naughty Bits and I hope many of you will join me there as well.
Naughty Bits Welcome Post:
Dear Readers,
Welcome to "Naughty Bits".
I created this blog to share my new series of Erotic Pop paintings. I have chosen to do so through a separate blog rather than post them on The Gascot Method to give supporters of my Latin Pop work the choice of keeping up with these works or not as I realize that erotic art is not everyone's cup of tea. For those who want to follow both blogs, but might read The Gascot Method from work, you will have the choice to view this series from home rather than have any NSFW imagery interrupt your lunchtime blog-reading. LOL.
Either way, I hope many will follow and enjoy (comments are always welcome). I plan to have a lot of fun with this body of work!
John G.
Thursday, August 5, 2010
Not Your Mother's Decorative Art: Interview With Martha Marshall
Martha Marshall is a full time professional artist who works closely with the corporate Interior Design trade and private collectors throughout the US and abroad. Creating stunning custom works while retaining the individuality of her strong artistic voice has been the key to her success in a market that is often overlooked by many artists.
Haiku36
acrylic on panel
8" x 8"
JG: In 1997 you left the corporate world behind to become a full time artist. How did that world influence your style?
MM: I don't think it had much influence on my artistic style, but being in the corporate world did influence my approach to the business side of being an artist. It gave me a very practical grounding in marketing my art, keeping good records, and presenting myself professionally.
JG: You are a self-proclaimed "decorative" painter and say your pieces are "meant to be more experienced than analyzed". How so?
MM: My work is nonobjective. I like to have viewers bring their experience to it and interact with it without a lot of prompting. It is not art with a message. It comes from a more emotional place, expressed in colors, subtle shapes and textures.
Regarding the word "decorative", I also present work for the interior design trade. That's the commercial side to what I do, which pays the bills. But there's a separate body of work that isn't commercially driven but reflects my own explorations and creative growth every day in the studio.
JG: I, personally, find it refreshing to see the word put out there by a fellow artist, actually. There is snobbery, I think, about the word because many feel art is supposed to only be raw and temperamental and couldn't possibly be real if it caters to a specific decor. I just don't buy into that school of thought. Design and decor are very real markets and yet so easily dismissed by many artists. It just makes for many missed opportunities, in my opinion.
MM: I'm so glad you brought that up. It reminds me of something a soap star said years ago in an interview. He said there are two kinds of actors: employed and unemployed. I have taken that wise counsel to heart. I'm not a snob about my art, and am thrilled that I can enjoy some income from it.
Elements 7
acrylic on panel
8" x 8"
JG: Your most recent work is executed almost exclusively on cradled panels measuring 8"x 8". As a faithful reader of your blog, I know just how excited you get when a new shipment of panels arrives at your door. What is it about panels (vs. canvas or paper) that bring out the child-on-Christmas-morning in you?
MM: Practically speaking, I like the panels for their rigidity. Their uniformity of size allows them to work in all kinds of configurations as groupings. I love to work in multiples, so it is exciting when I have plenty of them around. Maybe it's because I know that out of a dozen tries I will get a fair percentage of successes.
Their creative appeal for me is that each small square is a little window into some imagined larger world, or may suggest a fragment of something discarded, aged, or worn down by nature and the passage of time.
JG: In your paintings, texture certainly does not take a backseat to color. Is there much planning or do you work instinctively to achieve these rich variations?
MM: I try to be as spontaneous as possible and not over-think the process. That's one reason I like to work on several at a time, to keep from getting "stuck." I keep moving from one to the next improvising as I go with texture, color, and marks, and then if the process slows down in any way, I leave that one and come back to it fresh later.
Haiku 34
acrylic on panel
8" x 8"
JG: There is a beautiful "grit" in a lot of your work, yet the overall effect remains quite chic. How do you achieve this balance?
MM: I think that balance is exactly what I am going for all the time. It just isn't something I can push too hard. It's a matter of starting out in a big bold way with a wide brush stroke or a strong textural passage, then responding to that in a way that builds on and deepens the richness of the surface. There may be many subtle layers going on between that big stroke and the final surface of the painting, allowing it to peek through. I love lots of translucency and patina. The more layers, the more mystery.
Martha Marshall shares much of her artistic process through her wonderful blog, An Artist'sJournal and is represented by various galleries, including Michael Murphy Gallery in Tampa, FL.
Haiku36
acrylic on panel
8" x 8"
JG: In 1997 you left the corporate world behind to become a full time artist. How did that world influence your style?
MM: I don't think it had much influence on my artistic style, but being in the corporate world did influence my approach to the business side of being an artist. It gave me a very practical grounding in marketing my art, keeping good records, and presenting myself professionally.
JG: You are a self-proclaimed "decorative" painter and say your pieces are "meant to be more experienced than analyzed". How so?
MM: My work is nonobjective. I like to have viewers bring their experience to it and interact with it without a lot of prompting. It is not art with a message. It comes from a more emotional place, expressed in colors, subtle shapes and textures.
Regarding the word "decorative", I also present work for the interior design trade. That's the commercial side to what I do, which pays the bills. But there's a separate body of work that isn't commercially driven but reflects my own explorations and creative growth every day in the studio.
JG: I, personally, find it refreshing to see the word put out there by a fellow artist, actually. There is snobbery, I think, about the word because many feel art is supposed to only be raw and temperamental and couldn't possibly be real if it caters to a specific decor. I just don't buy into that school of thought. Design and decor are very real markets and yet so easily dismissed by many artists. It just makes for many missed opportunities, in my opinion.
MM: I'm so glad you brought that up. It reminds me of something a soap star said years ago in an interview. He said there are two kinds of actors: employed and unemployed. I have taken that wise counsel to heart. I'm not a snob about my art, and am thrilled that I can enjoy some income from it.
Elements 7
acrylic on panel
8" x 8"
JG: Your most recent work is executed almost exclusively on cradled panels measuring 8"x 8". As a faithful reader of your blog, I know just how excited you get when a new shipment of panels arrives at your door. What is it about panels (vs. canvas or paper) that bring out the child-on-Christmas-morning in you?
MM: Practically speaking, I like the panels for their rigidity. Their uniformity of size allows them to work in all kinds of configurations as groupings. I love to work in multiples, so it is exciting when I have plenty of them around. Maybe it's because I know that out of a dozen tries I will get a fair percentage of successes.
Their creative appeal for me is that each small square is a little window into some imagined larger world, or may suggest a fragment of something discarded, aged, or worn down by nature and the passage of time.
JG: In your paintings, texture certainly does not take a backseat to color. Is there much planning or do you work instinctively to achieve these rich variations?
MM: I try to be as spontaneous as possible and not over-think the process. That's one reason I like to work on several at a time, to keep from getting "stuck." I keep moving from one to the next improvising as I go with texture, color, and marks, and then if the process slows down in any way, I leave that one and come back to it fresh later.
Haiku 34
acrylic on panel
8" x 8"
JG: There is a beautiful "grit" in a lot of your work, yet the overall effect remains quite chic. How do you achieve this balance?
MM: I think that balance is exactly what I am going for all the time. It just isn't something I can push too hard. It's a matter of starting out in a big bold way with a wide brush stroke or a strong textural passage, then responding to that in a way that builds on and deepens the richness of the surface. There may be many subtle layers going on between that big stroke and the final surface of the painting, allowing it to peek through. I love lots of translucency and patina. The more layers, the more mystery.
Martha Marshall shares much of her artistic process through her wonderful blog, An Artist'sJournal and is represented by various galleries, including Michael Murphy Gallery in Tampa, FL.
Tuesday, January 19, 2010
Latin Pop Shop Blog
I debated whether I should start up another blog (this new one makes 3), but decided that Latin Pop Shop should have it's own. While initially I intended to discuss the journey of building and growing the business on here (and still will, certain aspects), I would prefer to keep this blog dedicated to my own art and experiences.
In Latin Pop Shop Blog I will not only discuss the business but feature the artists it represents as well as upcoming promotions and maybe even style and trends as they pertain to our inventory.
Should be fun, be sure to bookmark us!
In Latin Pop Shop Blog I will not only discuss the business but feature the artists it represents as well as upcoming promotions and maybe even style and trends as they pertain to our inventory.
Should be fun, be sure to bookmark us!
Monday, February 16, 2009
Blogging Newbie Welcome
Help me welcome my dear friend (and awesome artist!), Mike Trovato to the wonderful world of blogging.
Find his Lowbrow and Pop art paintings at Trovato Paintings.
Tattooed Obama (Change & Hope)
Check out Naughty Bits for his small erotic paintings (all oh-so-cleverly priced at $69).
Find his Lowbrow and Pop art paintings at Trovato Paintings.
Tattooed Obama (Change & Hope)
Oil on canvas, mounted to panel/10x14"
Check out Naughty Bits for his small erotic paintings (all oh-so-cleverly priced at $69).
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