StudioJournal

excerpt from article art review in New City: "In one of the most poignant pieces, New England artist Christopher Cart presents a nude woman turning away from her mirror in confusion and dismay—perhaps she just realized that she is no longer nubile. In another engaging piece, Polish artist Anna Wypych shows us a “Venus/Demon” who appears to be sexually available but also threatening. Don’t most sexual relationships end badly for someone? Chicago artist Kyrin Ealy Hobson shows us a struggling African-American family where the powerful stare of the mother is contrasted with the awkward, shy glance of the daughter. For many

My wife Jen Greta Cart has started an online greeting card shop with her very popular paintings at JenGretaCart.com.  Her work is beautiful, a combination of real and fantasy, magic and quietly normal all adding up to a lovely charm. She has been painting for many years and has quite a following of patrons.  And now her cards can be found in many brick and mortar card shops around Maine as well.

The history mural has begun! I am designing and painting a new history mural for my home town of Hallowell, Maine.  This is going to be 38 x 30 feet on an exterior wall at the north entrance to town.  Chris Vallee has donated the north wall of his real estate building on 89 Water St. The mural will tell the history of Hallowell, from the founding in the mid 1700's onward.  Our town built ships, cut timber, carved granite from our hills for great buildings and monuments of the young nation and had a thriving mill industry, making everything from sandpaper

Feet, feet and more feet.  Drawing this lower extremity is fun.  Feet can be very expressive.  We are used to hand gestures in paintings but feet can be story tellers too. I am working on a new dance painting where both, feet and hands, are very important.  When you are eager to start a new painting it is so tempting to just jump in as the idea rushes you—like a vacation romance. While this can yield some clever brushwork—well, and some true disasters as well—more often it is better to rehearse the parts, to dig in and find better and better ways

Street Art Show, 7.5 x 13 inches, pencil on watercolor paper This morning I was digging through my flat files to find an older watercolor I did (Autumn Cemetery)---couldn't remember if I had sold it or still had it tucked away somewhere.  Anyway, while digging I stumbled over this drawing I had done at a street art show years ago.  

Some evenings it is good just to sit and sketch or doodle.  I like to just noodle around with a pencil and without trying to plan a new painting.  If we get too locked tight, always producing, producing, producing, it is easy to forget to relax and just play. Drawing is just plain fun so drawing without a plan is a good way to relax.   It loosens the hand and mind.  Sometimes I find things I want to pursue further, but mostly this is just a way to relax.

While I am not a strict anatomist—I am perfectly happy to distort the human form if it fits my painting idea—I do, however, love the study of the human form.  Changing the human form to fit my paintings is important.  Nevertheless, it is very useful to go back and draw some muscles and bones.  I like the review; I like the peaceful study of the body; and it is helpful in my paintings, even those paintings where I freely twist and shape. I study on my own.  There weren't really anatomy classes in either of the art colleges I attended, back

If you are looking for some interesting podcast interviews with artists from around the world you should check out John Dalton's podcasts called Gently Does It. Kudos to John Dalton for all he does. His focus in on talented figurative painters.  There are now over 100 interviews mostly with artists and some curators, the likes of Nick Alm, Vincent Desiderio, Zoey Frank, a discussion with Dr Elaine Melodi Schmidt, the curator of the Venus Visions | Vision of Venus exhibit at Zhou B Art Center in Chicago, April 2018.  (I have a piece accepted in this show, btw) It is interesting to compare

Art needs a strange alchemy of several factors.   Imagination, skill, content, vision and perhaps, as some today are saying, empathy.  None of these elements by itself is enough to become Art in CAPS. Imagination won't suffice alone.  Without skill riding shotgun, even the most imaginative idea runs the risk of poor execution, and perhaps wasting that good idea. A loud imagination with no skill is often a naive tantrum. Skill is not enough either.  Mastering paint skills, while important, by itself can merely seem like looking for approbation or proving one's self by some sort of school day gold stars standards. Content, while important, both

Just added my new carpet to my studio--to my wall. I have a nine foot square wall built in my studio that I use for painting, as a permanent easel.  I use it for large mural projects, well, small paintings too, and just pinning up reference drawings and the like..  My studio has slanted ceilings and windows on the end walls, not much in the way of regular bare walls, so this 'easel' wall is partition built in. I've used the wall for a couple years now, just the plywood, but just added the carpet as a great improvement.  I was