Dear Reader,
Greetings. I'm working on a new painting |
Starting fully abstract. No preconceived ideas about subject matter, just creating a composition with strong focus by using value, color, edge, proportion and placement. |
Now letting the shapes tell me what the painting will be. The focal dark shape reminds me of a head, so I start in from imagination. |
Developing some old man features. The shapes in the bottom of the painting feel like an upper chest and outstretched shoulder, as if falling backwards, so I start to suggest that. |
This method of painting usually takes me through the emotional wringer. I feel as if I'm lost, stifled, wandering blind and mute, denied of my senses and my confidence of expression. As I express those things in the painting, I gain momentum. |
The head tightens further. I begin defining the shoulder, but I don't like where it's going. |
So I wipe out that shoulder. I reexamine the abstract shapes there and I begin to see a bird. So I quickly sketch the shapes of a bird, trying to capture the fleeting image in my head before it fades. |
Now I refine the bird. I want a crow or raven. I allow myself a peek at some images of real birds to remind me how the beak is shaped. But I don't want to be saddled with the obligation to reference, and I don't want the position of the bird to change as a result, so I memorize what I can and then go back to a referenceless process. |
The top of the painting needs to be addressed. I take my queue from the bright pink spot at the peak of his forehead. And the meaning of this painting (for me) continues to emerge. A wanderer--lost, weary, despairing. Being guided (willing or not) by a wiser presence. Leaks of inspiration, or memories of past joy...flow from the wanderer. I love painting grapes and grape shapes. I allow myself the pure pleasure of it. |
After blocking in the shapes I refine them. Imagining the overlapping of shapes, the play of light and shadow, the opacities and translucencies. All while retaining the original subtle values and colors of the abstract background as much as possible. To preserve the strong sense of focus in this composition. |
I'm not sure how close I am to finishing this painting. It's a mystery to me. But I'm looking forward to finding out. Faith in the process is all I need. To be continued.... |
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Why I rejected commissions. What's about to change. |
For most of my career I’ve eschewed the practice of taking painting commissions, only taking them in extremely rare cases. This was to allow me the time to focus on producing gallery work, preparing for shows, and most importantly, to allow me to retain total control of my meandering creative path. I thought that constraints would prevent me from producing my best work. I think there was a time when this was mostly true. No longer.
Tattooing has given me a slightly new perspective on creating art. There’s something very special about a more collaborative approach. The art can potentially mean so much more to the collector when they have a hand in the creation, and it’s been a really beautiful thing for me to witness. And instead of feeling limited by tattoo client input, I’ve been put in a position to pursue directions I’d never have chosen on my own, forcing me to grow as a result, and I really like it.
I’m interested in bringing this collaborative experience into my paintings. My priorities have changed—I’m no longer primarily focused on creating work for galleries. My painting time is more limited and so production has been deprioritized in favor of my quality of experience with each painting. The why of it. The purpose beyond the journey of painting itself. I have to admit to myself, I don’t just create paintings for my own satisfaction. I create them for other people to experience. When put to that old question, if I was stranded alone on a desert island, with all the supplies I could ever want, would I paint? My answer is, hell no. I would probably spend my time enjoying the beauty of nature around me. I’d probably spend my time figuring out how to build a complex network of innovative shelters for myself. But smearing colored oil on a 2d surface, for nobody else but myself to enjoy? Without even a family to enjoy them? Are you kidding? No way! I love the process of creating, I NEED the process of creating, and painting is my favorite way to communicate what’s inside me to other humans. Creating paintings in solitude for nobody but myself to enjoy them sounds like a version of hell. I enjoy experiencing built environments, immersing myself in a great film, listening to music, reading a good novel, even walking around sculpture. Of all the fine arts, looking at 2d media (non sequential) might come in dead last, haha. The fact of this doesn’t seem strange to me at all. My favorite means of creatively communicating to other humans need not be my favorite art form to consume.
I don’t paint in a vacuum. I’ve always painted for others. I want others to see what I see. To see the WAY that I see. I love to put my imagination onto a panel for other’s enjoyment. I love the challenge of trying to provoke some sort of enjoyment or pleasure in other people. If put to that other classic question: if I had millions of dollars and didn’t need to sell my art, would I still paint? My answer to that is a resounding...Hell Yes! Because it would still be for others to experience. That sounds like heaven to me. No bills to worry about, just painting and tattooing and bringing my creations into other’s homes and lives.
Suffice to say, my reason for painting is…you. And I want to embrace that. And see what happens. So, for the first time in my 19 years of painting, I’m actively seeking painting commissions. You’re the first to hear about it. Paintings take more time for me lately, so I'm not sure how many projects I'll take on. Let me know if you're interested. My best email is address is david.cheifetz@gmail.com and I look forward to discussing ideas.
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Seeking a special tattoo client |
I explain my idea in this video I just posted to instagram.
Click below if interested! |
I'm headlining and teaching at the upcoming Paradise Artist Retreat at Jiminy Peak Mountain Resort, MA in October! The other headliners are Jennifer Gennari and Peter Mohrbacher! Paradise is an annual event that was originally focused on tattoo artists, but now it is for all artists, focused on creative growth. Honored to be invited, I'm really looking forward to it.
From the website: What is the Paradise Artist Retreat?
Three days of art creation, mentorship, and inspiration in the hills of western mass. Each day is filled with art creations, workshops, panels, critiques, and more.
Exactly what’s happening at this event? -Daily headlining workshops from the main stage -Daily foundation. Figure drawing, still life, and landscape workshops for all artists -Daily discussion panels from the stage -Each ticket includes a 5 x 10 space to create art. Bring your easels and/or art creation tools to practice for three days
-Daily group art creation sessions There will also be a seminar room for extra classes and workshops. |
Thank you for reading. Until next time, -David |
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