So I’ve written about various artists I’ve found inspiring. Here is someone I actually went to university with, Carl Studna. When I met Carl he was a bright kid running the darkroom. I was the old man, this being after the war and my third go at trying to get a degree. I could see Carl was good he had a great eye and was always onto learning something new.

After we graduated I lost touch, meaning I fell off the earth again, for a couple of years.

Then I’m in Los Angeles now for a couple of years and in the lobby at A&E Photo to pick up some processing (This was an arcane ritual of delivering your mission critical, irreplaceable, hard work to the high priest where it was anointed and bathed, and if the gods are with you the priest will present you back with pictures. You could wait overnight to find out of you’ll be billing this job or with additional donations you can learn your fate in as little as 1 hour.) and there was Carl, waiting too. We talk a bit, catch up, play “do you remember”. I tell him about the work I’m doing, architectural, all ‘for hire’; I think he said he was doing promotional or publicity. And zott we’re gone again.

Now it’s about 1989-90 and I hear Jefferson Airplane got back together and put out a new album. Since JA and I go back to 1967 I snap it up. I’m reading the liner credits and there’s Carl, photography by.

Thinking about my blog I go “where’s Carl?” he’s at

This is a little from his website:

The mission – To anchor with the client in the vision that’s emerging, utilizing all of the tools necessary to see it through to it’s clearest and most powerful form.

And a quote of what he’s about – “The medium of photography reveals the presence of grace, beauty and wisdom through the lens of the camera. Every shoot, whether it be a person, product, landscape or activity offers the opportunity to see and imprint the true essence that is present. Cultivating an atmosphere of trust is the most essential ingredient in working with clients.”

…Carl Studna is a multifaceted portrait photographer whose three decades of commercial shooting covers the spectrum of musicians, authors, celebrities, corporate, advertising and fine art.

Here are examples of his work

As I looked through Carl’s work I recognized images I’ve seen in publication and didn’t know who’d made them. I’m delighted that people I knew, before they “made it”, continue to make it. That’s always inspiring to me, knowing hard work, and some talent, will always get you somewhere.



Jeez no posts since November? What can I be thinking?
I went on a time warp journey a couple weeks ago. Since I graduated from university many years ago I’d had virtually no contact with anyone from there. Actually just an actor, named Jacque, and a photographer, Carl. Both whom I’d bumped into a couple of times over the years in Hollywood.

Well one of my dance instructors, Nancy Lyons, was retiring at the end of the year and a retrospective concert was being performed. As I’m only 2 hours away now we went.

Not only has the campus sprouted buildings all over and the trees are many years taller, but the sleepy little town down the road is surrounded by apartments and housing developments. I spoke to 6 or 7 people I’d known, some I recognized, some I didn’t immediately.

Overall a delightful evening. The variety of dancers was more than the usually lithe, taut, muscle machines. The variety of dances was all Nancy. I particularly enjoyed the slightly formal ‘White Pause’ an early piece from 1984 the program says was converted from a solo to the group piece for these dancers. It converted well, with nice synchronicity and detailed floor pattern. The performance that impressed me most was Collette Van Gerwen in the solo ‘Lure’, look for that name cause this gal is good. The piece is from 1986, a few years after I’d been with Nancy, and I’d guess she is at her prime here. It has lyricism, humor, and strength.

When I danced in Nancy’s company we did some fun pieces, show for kids; some tongue in cheek; Procession; and the usual “dance” stuff. I was too serious a person then to see the purpose/value of humor/insouciance, but that changed one night on the Upper West Side in Manhattan. Claire Porter showed me humorous dance can be ‘serious’ dance, but that idea then led to what is “serious” anything; and then ‘ding’ everything got less “serious”. I’ve built on this through experiment, experience, and much study in other areas and now view Life as the game it is; and if it ain’t fun you ain’t playing hard enough.

More soon.

Some people I’ve seen

Been way too long since I’ve posted. Just thought I’d push up a few people I’ve been looking at.

First Sondra Olson. Met her last year, seen a couple of her shows and spoke with her in her studio. She paints in a rather dark style, without morbidity or angst; as though she were painting the night. I feel she paints the light, even in the dark.

Then there’s Roger Berry a formed metal sculptor who has a number of pieces around. There is so much whimsy in his pounds, even tons, of metal.

This last one, Elizabeth Briel, I haven’t seen any actual work as she’s hopping around Southeast Asia from a base in Hong Kong. But I find her blog and her experience fascinating. To just pick up and plunk down on the other side of the world takes a certain character.

Posted in Art, Seen. 1 Comment »

quick note

Just a quick mention here of 2 people I came across recently.

Dennis Barloga, photographer, took me to the old europe I someday want to go see. He’s from the old school of larger format film and boy are his prints nice.

Fused glass may be too ‘craftsy’ for some tastes, but remember the test is not ‘is it oil paint’, the test is ‘does it communicate’. Diane Berry, jeweler, took me about 30 seconds to find a pendant I bought. Look her up if you’re in Ashland, Oregon. Or keep an eye out at art fairs, she travels a bit.

Results are starting to come in on my exhibit submissions, we’ll talk about that later.

Away and back again

So far to go so much to see.
I’m back from the road. And still not working much. The painter Chuck Close is quoted variously as “Inspiration is for amateurs. The rest of us just show up and go to work.” Need to show up. Need to work.

Some of what I did see though was quite inspired.

Being the old man I am, film to me is still the medium for ‘moving pictures’. (Never mind the acetate gets digitized for editing & then lasered back out as negative to make release prints.) So to see some young videographers building their chops with green screen, ‘mood’ lighting, and a mind blowing music montage I say ‘Bring it on’.

I went to a video “Filmfest” coordinated by Nate Seymour and Allistair Johnson. And when they hone their tastes they could make a run at Sundance. I can’t mention every piece I saw (cause I just don’t remeber all of them) and mean no slight to any of the other participants.

A fantasy adventure by Andrew Boyd was the effects showpiece, imaginative miniatures and all.

I was literally stunned by the depth of historical knowledge displayed in Dani Alcorn’s montage. Illustrating Billy Joel’s ‘We Didn’t Start the Fire’ could easily have been commonplace, but not here. Each image was its own tap to the forehead, punch in the chest, kick to the cajones. Well done lady you nearly brought me to tears.

Now if Melanie, my contact, will answer up I’ll give a mention to the camera and lights for Psycho Circus.

Keep your pencil sharp and camcorder charged, till next time.

The filming and lighting for Psycho Circus was done by Alexis Hermosa, Stuart Shinn, Tom McCudden, Graham Clark, and Drew Barker.


As mentioned previously we’re in the process of expanding. Part of that is moving. I’ll be tied up with the move through the end of March so there won’t be new entries until then.

Did do some gallery hopping. You may want to look for Thomas Patrick. I say may because he is a “Wine Country” painter. His technique is acrylic on paper cutouts with a landscape, wine bottle/glass motif. The technique is interesting and he has a good sense of colour and composition. If “Wine Country” is your taste you may like this.

Keep an eye out for Jakob Tedrick. This welded metal young artist can go far.


Did a bit of gallery hopping recently. Checkout Eileen Graham and Steve Memering.

What I like about Eileen is an etherial quality I get from her work, I feel she has a good sense of color, especially in the way she uses it to separate the figure from the ground, and I also like her surface. Were “Morning Reflection” not sold I might be tempted to negotiate.

Steve’s work struck me quite differently. For me there is strong dynamic, he has a well defined color sense, and his dragonfly-koi series will seriously mess with your spatial orientation.

Here is another bit of what I’ve been writing:

4 – Evan, Michelle, and Trina

They sat on the bench under the plexi & aluminum porch. White jeans, legs drawn up crossed Indian style. The one in the blue top flips through her CD case, she has to find the right soundtrack for bus waiting. The one in the white top is sketching, tall slender women. She wants to be a fashion designer. The boy stands at the end, he doesn’t think they know he’s watching them. The girls think it’s cute the way the boy watches them, thinking they don’t know he’s watching. He gets on the bus, but the girls are waiting for a different one. They talk about him when the bus pulls away.