OToole Studio Origin

I have many questions that fans, family and friends ask me about my work, my process and my philosophy.
Questions like:
Where is this awesome atelier that goes by the name of O'Toole Studio?
How is it different from any other studio?
How will my life be changed once I visit? and
How much is the guided tour?

O'Toole Studio started in my computer. The first works I exhibited in local galleries were created with PhotoShop. These digital creations were highly colorful abstract expressionist paintings which were rendered in extremely high resolution and printed on canvas. As limited archival editions of my images they were well received but costly to produce. On mentioning this cost factor I remember my then gallery representative asking me, "So, why don't you pick up a paintbrush for crying out loud?!"

I had pondered this same notion for some time, and with the money from sales of my digitals I proceeded down to the local art supply to buy all the necessary items needed to begin painting. It was at that point that I officially added to the name I had always called myself. Prior to visiting the art supply I had always confidently called myself a writer. I had been writing poetry since grade school, and fiction since middle school. I had been fortunate enough to publish both types of writing since early adulthood. But on that day as I walked down the aisles of the art supply, I knew I was also an artist. I had not dared to call myself this before even though I had sold numerous pieces at two Dallas / Fort Worth art galleries. Still, in that place I acknowledged the depth of another facet of my creativity because I felt like I was home. I could have stayed in that store indefinitely. But, at closing time they politely asked me to leave.

So, I carried back to my actual home all the materials I could afford. O'Toole Studio expanded from my computer to a wee small corner of a room we rarely used in our housel; the front living/dining room. I meticulously laid tarps and cloth over the carpet and furniture to protect the area. Eventually, I added a drafting table and work tables but still managed to keep the area looking pretty much like it was originally purposed. Then, on one dark day as my mother must imagine, the spirit of abstract expressionism fell upon me and that room has never been the same. Except for the china cabinet which remains covered, the rest is a beautiful mess. The carpet though mostly covered has been through it and may soon be removed. My wife, Barbara insist that she loves my studio being in our home, but my mom keeps asking when I am going to give Barb her living room back. Gotta love my mom.

So, that answers the first couple of questions. As to the last two questions listed here, let me answer simply that the cost of the tour ranges from less than $100 to several thousand dollars. The catch is that you are guaranteed to leave with a beautiful piece of art. That in itself will change your life forever.

Staying Motivated

Now, I know what some of you are saying. Yes, that's my secret agent listening device you found under the lamp your auntie gave you, and not her long lost hearing-aid. You're saying, "Ken, if you are concentrating on production of assets (as mentioned in your last article) won't you be sacrificing the quality and ultimate beauty of your work?" The short answer is an emphatic "NO." After all the work wouldn't be much of an asset if the aesthetics were not of the highest possible caliber. I wasn't talking about going into "factory" mode and just cranking out the crap. I am a Dallas/ Fort Worth contemporary abstract artist, not a machine. What I was trying to convey was the concept of producing work of high quality at a steady or increased rate.

Don't say it. I know only too well the difficulty in accomplishing this, and in my observations there are two primary hindrances to maintaining high quality fine art at a constant or elevated rate. The first problem lies in the ability to stay motivated. So, the question changes from how do you maintain aesthetic integrity to how do you keep your drive alive. The other issue is staying focused on the priorities of an artistic profession.

First, let me say that the work itself is generally of sufficient interest to keep me working. It is its own reward. I thoroughly love painting, drawing, working with various design elements, writing, reading, and to a lesser degree editing. In fact I enjoy all of these aspects of my work so much, that lack of time and energy rather than diminished desire pulls me away from creating. Each of these activities requires immense amounts of physical and emotional stamina to sustain meaningful productivity. Also, the culprit of divided focus compounds this energy loss issue because it increases emotional burden by luring thoughts toward the unattended activities.

You're saying, "By George Foreman's Grill, that's the same problem I've been having. What is the solution, Ken?"

Well, if you've read all the motivational books (or at least listened to all the audio books) like I have, you know that as tempting as it seems; the reward model does not always work. Granted, goals and rewards have their place and individual thresholds for extended success by utilizing them vary. Still, unless the rewards can be exponentially increased, eventually their power to generate effort wanes. All the models ultimately point to the fact that motivation must come from within the individual to be permanent.

Now you're tapping your fingers impatiently and there's even a little stress growl in your voice, "We know that, KEN. So, what's the bloody solution!?"

The answer is simpler than you might have imagined. Allow me one more minor digression in order to explain.

Long before I began painting abstract art, I endeavored to have good music piped in wherever I was working. It alleviated stress and made the day go by faster. Basically, this is the "whistle while you work" principle, and it has been widely proven effective. Wait, wait...don't roll your eyes just yet.

Naturally, I found that various music styles affected the rhythms in my paint applications, especially jazz and electronica on my action paintings. However, when I began listening to movie soundtracks, amazing things began to happen.

While listening to film scores every aspect of my day takes on a more intensive meaning. The most mundane tasks seem to be vitally important. I round corners gingerly, acutely aware of my surroundings. I am much more agile, and with the right pair of sneakers (or kicks if you must) I can run faster and jump higher.
What's more, since I've added 007 scores to the mix, my wife has enjoyed the benefits of being a "Bond Girl."

What's wrong? Cat got your tongue? Well, go ahead if you don't believe me. Try it for yourself. You will see a "dramatic" improvement in your "performance", especially when the fate of the world hangs in the balance. Or are you just going to say, Dr. No? I hope not.

Ken O'Toole is a Dallas / Fort Worth contemporary abstract artist, specializing in abstract expressionism and action paintings.

Try To Do Better

Who would have thought that there are those of you out there that are actually reading these articles. I know you do because out of the blue, someone I don't really know wrote and told me how much they liked the last article I wrote about dirty trick emails during the presidential campaign. I took this as the literary equivalent of a cattle prod. Good Grief! Has it actually been over six months since I posted anything. Sad but true. I will try to do better.

However, as I mentioned during one of my earlier post there is much to do in the studio besides writing and I am only one person. Still, I WILL TRY to do better.

It's not like I have run out of things to rant about. Political foolishness on both sides of the aisle not withstanding. I really want no part of that insanity. The economy is a tired and truly blue bit of worn out news. The only thing I can really say about money is that it is nice to have it. Wow! Wasn't that a revelation worth waiting six months for?

I guess I should have put more emphasis on making money during the decades I've been tooling around this fair world. Shoot! I could have been another Bernie Madoff if I'd just focused on that scene a little more.

Seriously, I have been cracking the non-fiction books about finances in order to better understand the options before us. It's a little late in the game, but I've always heard that late is better than never, and as I stated a few sentences ago, I AM TRYING TO DO BETTER.

I think I have a handle on the basics. I'm pretty sure I can now tell the difference between an asset and a liability. But, just between me and whoever you are, all those market reports and the whole trading game, well... wait for it...BIG YAWN.

So, the advice I'm getting for someone who doesn't have a lot of experience or attention span where the market is concerned is to continue to produce assets.

That means I will be headed back into the studio. But I'll be back sooner than later, because I really am TRYING 2 dO BEtTEr.

Insidious Email Campaigns

I have to say how grieved I am to receive not once but on two separate occasions the same hate email concerning one of our candidates for President. First, let me say that I appreciate the concern of those who sent me this email. I know that they both had the best intentions, and that neither of you have hate in your heart towards anyone. I just think you should know how you are being used when you forward fear-based fiction that carries someone else’s agenda.

“Regardless of who you plan to vote for” is the innocuous preamble to this insidious message. Then it goes on to show disturbing photos of Islamic protestors demonstrating their hatred of all things and people non-Muslim. The email goes on to suggest the complicity of Senator Obama with terrorists on the strength of a badly contextualized and misquoted excerpt from the senator’s writings.

This is the same groundless accusation and fear mongering that some members of the GOP have been trying to embed in the general voter consciousness from the beginning of this campaign. It is a desperate ploy to misinform and prejudice voters by demonizing this candidate. Despite an extremely unfortunate name, Senator Obama is a homegrown U.S.A. citizen (or he couldn’t run) who is a documented member of the Christian faith. Now, before you question the strength of his faith, consider the email I am talking about. You know the one with the obvious hate message.

All I want to get across, if I can, is that whomever you decide to vote for, do it in response to faith that this is the greatest country on the planet: A country that is strong because of the prayers of the faithful and the love of an Almighty God we serve.

If instead we are voting against someone out of fear, we vote in vain, because we are saying that we no longer trust in our redeemer.

Just so you know, if you haven’t guessed by now, I cannot support a party that would pander fear in hopes of retaining power they have misused for eight years. I cannot support policies that continue to ship jobs along with our prosperity overseas. I can no longer support robbing from the poor to pay for golden parachutes. I have decided to vote in faith that we can change this country for the better. I will vote Obama for President.

Regardless of how you decide to vote, know that I love you and am praying for you.

Peace and Many Blessings

Ken

1 John 4:18 There is no fear in love. But perfect love drives out fear, because fear has to do with punishment. The one who fears is not made perfect in love.

Rio Brazos & PCPC

I would like to praise two institutions for their wonderful and tireless efforts on behalf of art and artists. The two organizations I am referring to are Tarleton University and Park Cities Presbyterian Church in Dallas.

This past year has been the first time I have had the extreme pleasure to be associated with either organization, and I cannot express adequately with words how much I was impressed with both groups.

Park Cities Presbyterian Church recently concluded their second annual PCPC arts festival. Their festival’s theme, based on biblical creation, was entitled “Beginnings – Genesis.”

The opportunity to participate in a faith based art festival was one that I looked forward to for reasons I will delve into at some later point. I was; however, pleasantly surprised to find not only the quality of the art very high, but also the treatment of the art and the artists was impeccable.

The Cross Timbers Art Council and Tarleton State University sponsor the Rio Brazos Juried Art Exhibition. The exhibit is held each year at Tarleton’s Langdon Center in Granbury. These gracious hosts go above and beyond, not only in their efforts to expose the public to the highest quality art, but also to revere and honor the artists.

There is still time for you to enter artwork in this year’s juried exhibit. The deadline is August 18th 2008. You can see the prospectus at
http://www.tarleton.edu/~langdoncenter/RBAE/RBAEindex.html

The Dark Knight Redemption

I do not plan to give anything away. Spoilers, as they call them are not my goal. I may even be a trifle late with this to qualify as a substantive review, but I believe that I am suppose to add my unique perspective to the voices already singing the praises of Christopher Nolan’s new Batman movie “The Dark Knight”. I know you may be saying, “isn’t this particular column supposed to be generally directed at art and the artistic process?” The simple answer is unequivocally YES, and that is why I need to say the following.

I have not always been on board the “Batman as best hero” train. In my younger days I preferred to dream of having super strength, speed, etc. The Batman TV series did nothing to elevate my esteem of the, what I considered rather second-rate comic, character. In fact it was not until I read the Frank Miller’s series “Batman, The Dark Night Returns” that I developed an appreciation for the Batman. Tim Burton’s movies crept up to the edge of the darkness that Miller portrayed in his graphic novel, but ultimately fell back into the campy pablum of the TV series.
Christopher Nolan has properly embraced the darkness that makes the Batman/ Bruce Wayne personas so intriguing. I found myself watching “Batman Begins” over and over without tiring of any scene. This same embrace is apparent and runs the whole length of his new movie, “The Dark Night” with one minor exception. This exception might possibly serve as the underlying theme of this movie, though I do not pretend to know the mind of Nolan. “The Dark Knight” portrays a microcosm of the world in the guise of Gotham that is abjectly dark, overrun with evil, violence and terrorism. And yet, it is peppered with people throughout who remain hopeful, and in their hope they reach out to help others. There is so much violence (non-graphic to obtain PG-13 status, but still prevalent) and so much going on that it could almost slip by unnoticed. There almost toward the end of the movie a bright and shining example of the potential goodness of all men blazed into my awareness. A convict, played by Tommy (Tiny) Lister, makes the ultimate in sacrificial decisions. It is this and actions like it that define true heroism. That is what I went to see and Nolan did not disappoint.

Abstract Expressionistic Monoprints

As I said last time, the purpose of this time away from my studio (other than shameless self-promotion) is to encourage you to create. Now, that doesn’t mean you need to create a painting, an opera, or the great American novel. Your passion may lie in what is widely considered a non-artistic field such as math and science. Whatever forms your bliss takes, follow it. You will find your creativity almost always shares the face of what you love. The best way to tell if you are on the right track is if you have joy about what you are doing even when encountering the, what most would call, difficulties associated with the task involved.

Of course if you think you’d like to try painting, or writing, or playing music, or any of the other arts, please by all means let this be the impetus to get you started. Regardless of what anyone has told you there will never be too many artists in the world. Beauty, truth and free expression are sadly in short supply.

If the visual art interests you, let me briefly describe a process that has given me excellent results. Perhaps it can open the world of painting up to you. One little disclaimer here: I am an abstract expressionist for the most part. So, if you want a finished product that everyone immediately recognizes, you may want to explore other techniques. Drawing will eventually give you those results if you practice long enough. Yes it’s true. Anyone can draw given enough practice training the hand to capture what the eye sees.

"Cracked Prism"

My work and the process described here are geared towards non-objective or non-representational images. I seek to express my emotions and the energy within and around me rather than reproducing images of, say, apples on a table. If I need one, I generally take a photograph of said apple.

Early on I worked primarily with geometric shapes, but eventually tired of them. In frustration with one such piece I laid it down and began slinging white and black paint over the primary spheres I had painstakingly painted. I know this is not a new technique. It was not even a new technique when Jackson Pollock made it famous in the 1950’s. That is not the point. The point is that I fell in love with it. It looked great; it was an excellent contrast to the obvious geometrics and I enjoyed the release of frustration in applying the paint in that way. I felt invigorated rather than tired when I left the studio that day.

"Big Idea Bypass"

This is another clue to whether you’re heading the right direction. There should be an influx or energy that matches or exceeds any expenditure. It is almost as if there is an exchange of energy when you are doing something you enjoy. Case in point: It could be said, and more than once has been, that any monkey can sling paint like Pollock did. This is simply untrue. Pollock’s masterful work looks like it does because of the emotional energy and purpose he expressed in a seemingly random way. And of course he didn’t keep or like everyone he painted. You should also be pleased in some way with the results you get from this method. Note I did not say satisfied. In fact your creative bliss should also drive you with some of that energy to improve to as close to perfection as possible.

That’s why when I first tried these methods, I did so sparingly; partly because I fell victim to the common misconception many suffer from about drip/pour painting being somehow akin to finger painting; a child’s method. Any monkey, or elephant, or dog with a brush tied to his tail gets the same results. Right? WRONG!!!

"Sister Systems"

So, I went back to other methods of abstraction, but was steadily drawn back to the drip and pour method. I even disguised it to some degree by using palette knives, paste spreaders, and even spatulas to smooth and blend the poured paints. This technique rendered various results, which had more of an impressionistic rather than expressionistic feel. I was pleased with them, especially when I took the time to meditate on them, really SEE them, and allowed my right brain to find images within the clouds of paint.
I left some of these found images alone, but some I began to bring out with various drawing methods.

"No Mo Lilies"

Still I was drawn back and continuously invigorated by the pour and drip method. I photograph my own work, not only for the purpose of recording my progress, but also as a step in the process of digitally manipulating the work into something else entirely. I told myself that action painting, or drip painting was merely a step in this process.

"Sandman"

When my father fell ill, I had a huge amount of internal struggle to deal with. At the same time I was reading extensively about Pollock. I believed that I understood what Pollock meant about “not worrying about destroying a painting.” I took this to mean that you can’t throw too much at the canvas. The painting is finished when it’s finished, but don’t be afraid to push the envelope beyond numerous layers.

"Between Tremors"

The resulting canvases were spectacular if I do say so myself, but another benefit / process step emerged from this realization. Before I had either allowed raw canvas to show through or had spread bottom layers of paint to cover. Now in trying to maintain the heavy bottom layers of paint, I first covered by pressing a cut up cardboard box into the canvas and then adding layers over the smashed paint on the canvas. The cardboard was unusable again, but the pattern of the paint picked up by the cardboard was amazing. This monoprint process produced a much more desirable effect when using a stable support such as Masonite, canvas boards, paper or Plexiglas.

"Exiting Depression"

Lay down a hard surface, such as a large sheet of plywood, or if you’re of a mind the floor itself will do. Start a drip / pour painting on this surface. Once you have several layers of the colors you choose, or at least some pattern or configuration that is pleasing to you take one of the supports mentioned above and press it into the paint. If you want more action in your monoprint, slide it gently in one direction or another. Then pull the support off the painted surface. If the result doesn’t have as much action as you would like, tilt it to allow the paint to run slightly. When you have the image effect you desire, place the monoprint on a flat surface, paint up and allow it to dry.

On Plexiglas the effect is closer to what you actually see when you lay the paint down. This is important to remember because normally painting on Plexiglas is done backwards. These monoprints normally print backwards. That is the paint you lay down last will normally be viewed on bottom, but with Plexiglas, which is viewed backwards anyway the last paint is on top as it in a standard painting technique.

"Floater"
Monoprint on Mat Board

I know for most artists these sound like very primitive printing methods, but they are extremely enjoyable, especially if you want to try painting without first attending lengthy classes or incurring great expense.

"Sibling Rivalry"

Monoprint on Plexiglas

I hope you will try these methods and create many beautiful images.