James Maxwell multimedia artist Concerns - Artist's Statement Commercial Designs Email

Recent Work 2015 20172016201420132012


No entries as entire month of December and part of January 2016
as I've been working toward completing a portrait of A Six Year Old Beauty,
and Water Under The Bridge II inspired in Ireland



Early November

Easter Vigil  


Showing at
Braggadoon.com
435 N. Main Street
Downtown Fort Bragg, CA
707-964-5050
An Anniversary Exhibit and Silent Auction Benefit featuring printed works from the archives of Braggadoon, 2005 - 2015
A fine art print digital print of:

"The Easter Vigil" by James Maxwell
Full moon and puddle shown
and offered in an auction that benefits
the Multipurpose Senior Services Program,
an office of Community Care, Mendocino County.

The accompaning text (painted on the back of the painting) here is included.

- Nocturn at Vigil -

Do not entertain
or be seduced
by too much sadness.

Remember:
you have a limited capacity
for it.

Maxwell '06

 

 

 

 


Late October

Water Under the Bridge, Ireland

"Water Under The Bridge"
29 x 39 inches - acrylic on raw canvas
Down stream from Kylemore Abbey, County Galway, Ireland.

This is the result of my painting meditation to help grieve my loss of a good friend due to his untimely death.
Image inspired in April on the way to Connemara, painting process brought to completion in late October.

It takes effort to stay afloat, keep at your work and be yourself - the line of least resistance belongs to you.
"Water Under The Bridge" does lead to many more meanings than water under the bridge, and more paintings.

my email address


 

September – big fire in the valley – our first rains on the coast.

Brainstorm here at home, attempting to get my chops together on new concrete projects I would teach during
seminars at Botanical Gardens, or here at the studio. Like something you would find around the house,
something no bigger than a bread basket, of course beautiful. Like cabbages, I like to call them "mon petit chou."

Silver Edged Cabbage   Gold edged Cabbage

I'm using Savoy Cabbages to print these organic bowls with a mixture of white portland cement and the whitest of silica sand, a commercial concrete bonding agent and water. The Savoy is a tough vegetable with leaves highly detailed.
These bowls too are tough.

The black is from burning the edge of the concrete with a candle coloring it with carbon from the flame.
The final coating is two applications of brushing lacquer to make them food safe
The bowl on the left has a faux silver metalic edge, the one on the right, faux gold. .

Silver edge to bowl   Gold edge to bowl

They don't weigh that much for cerimonial bowls and add to a formal table with their wild nature.
The left is 13 inches in diameter. The right one is more of an oval, 15 X 14 inches.
They stand three and a half inches tall on a cork bottom. It is a wonderful learning experience celebrating natural forms.

The silver edge Gold edge

These are for sale, and I do ship. Ask your questions - stay in touch by email

 

 


 

Ongoing collaboration with fellow sculptor/painter Maureen O'Hara.
from drawing, to armature, to finish, and installation. Completed August 20, 2015

drawing
armature 1
armature 2

Ball Armature
Work 1
qoek 2
work 3


Moe Sculpture
 
In Garden


Moe Sculpture
 
In Garden

Maureen presented me with a drawing, we discussed size, placement then with steel fencing and hardware cloth,
we proceeded to form the elements you see here, engineering the wire by twisting and bending them together.
We coated the scupture's steel superstsructure with rustoleum, and began assembly.
Over the next five weeks we applied layers of cement, sand, and a bonding agent. This sticky mixture was applied
with palette knives and at times leaves were coated, as in decorating a small cake and then pressed into newly
applied concrete, three different tones were made with white and gray cement. The sculpture was sealed with
a concrete resin coating. Finally a green concrete stain was painted on
as if this creature was stained by natural means.



 

Another Emancipation   Another Emancipation

"Another Emancipation"
Siberian Iris – acrylic and metal leaf on canvas
Two panels, 3' X 6' – a space between to invite other ideas on the thought.

Shown in the Mendocino Music Festival tent July 9th through July 25th.

Price upon request – Put IRIS in subject line

 


 

Two Short Stories written while visiting Ireland
for your entertainment

Short Story - "FAITH"
 
Short Story - "REACTION"

Let me know what you think - I'd love to hear your reviews!
My Email: jasmax@mcn.org

 


 

Returning to work on a favorite theme of "Nocturnes"

The Humm of The Moon

"The Hum of The Moon"
36" X 36" acrylic on raw canvas.

As in my fifteen page Short Story"Instinct"


 

Winter chores have kept me mostly indoors, some work was stopped in process because the weather cramped my style. With breaks inbetween differing commercial work requirements, and weather changes – I now have completed some projects that have been hanging in the wings drying out/reshaping themselves since before Christmas.
Then again, I did participate in that good size show in January.
Here are some new projects.

Conrete Path
Path Faux StonePath with faux stones

Carolyn's New Garden Path
Six QUIKRETE bags used - wet concrete in trashbags, turned over onto no'growth plastic, intersperced with natural stone, shaped by hand to fit together as interlocking tongue and grove stones, stained with ferrous sulfate, and sealed with Mason's Select Transparent Concrete Stain.


Treasure Chest   Treasure Chest faux Gold leaf

Hydrangae leaf impressions

Treasure Chest/Ossuary/Fool's Folly -
Concrete stained with ferrous sulfate with faux gold leaf on Hydrangea leaf fimpressions
18"L X 14.5W X 8.75"H
(Upon discovering that being empty is a lot easier than carrying 45lbs of empty concrete box around,
while entertaining there may be someting more of value than air and water.)
It is for sale - email me for particulars.


Ossary with Nasturtian   Ossyary

Ossary
(for real - like practical)
holds one's remains


 

Pumpkin Candy DishThree Pumpkin dishesPumpkin dishPumpkin Candy Dish with Almonds

Six Candy Dishes
White concrete casts of small pumpkins, embellished with black silica sand.
(Pumpkins eradicated by placing sculptures in my compost to let the worms clean up the concrete -
nearly three months.)

What can I say, I like forensics detective movies.




 

JANUARY Group Showing at The Oddfellows Hall in Mendocino, sponsored by FLOCKworks
which is a non-profit arts organization.
Dedicated to actively community showings, this 100th showing focused on the topic of "creative space", a creative-conversation of youth and senior artists.

Children's masks, creatures, other work from Mendocino K-8 School, AVID students of Fr. Bragg Middle Schoo,
and Noyo/Lighthouse Schools.
New Voices
Ariela Marshall, Spencer O'Karma, and
Tibisay Geis.
Sculptor Hans Bruhner, and Painter James Maxwell
Perspective Bones of Our Whale:
Noyo Center fo Marine Science
Creative Space: A FLOCKworks installation

The following are images from that showing.

2015 show


Mark Oatley
Art Teacher Mark Oatney receiving praise.


FlockWorksFlockworksFLOCKworks installation by Janet Self


Spencer O'mara

Spencer O'mara
Spencer O'Karma


Whale Bone
Grade Schools sculptures with Whale bones



Tibisay Geis


Triangledoor
Ariela Marshall

Jan poster

Hans Bruhner
Hans Bruhner also here

   

Pudding Creek

Pudding Creek


Max Show
Statement from James Maxwell
about his work
"Wavering Transforms To Solutions"

The artist side of me tinkers with ideas. As a child, culture had forcefully taught me to doubt myself, but early on I got the gift of making art, teaching me the love of creating to overcome that ancient fear of the unknown. It’s been working for me ever since, seventy years now. This is one example to the mystery in the song, “God bless the child who has his own . . .” Yet another gift is: some thoughts are dangerous.

I am wary of this loud soup of civilization, I withhold disbelief, practice patience with you (more importantly with myself), and attempt with all my power to keep an open mind to follow the neutral path. I do not have to react, but when I do I make art to map the territory of the unknown.

There is so much I don’t know and want to before I go, not desire to know, but eager to experience this mystery, learn the meaning of moods, and unexpected inspirations. At times I think someone is trying to tell me something. I believe it is a hopeful presence that loves me and remains unidentified. I am still that child who asks, Why? Truth is important, still my ego (for lack of a better word) gets in the way.

In 2013, for one whole year, I worked to capture an unknown. Early January, I was startled by a mood that was so pervasive I had no words to free me from my discomfort. It showed up as distress just below the surface of my emotions, a kind of sadness of being incomplete – no smile from a stranger could lift me out of it, no friend’s laughter calmed me. So I worked in spite of this disturbance, I painted the scene out of my front window, overlooking Fort Bragg’s Pudding Creek heading west, twisting its way past the graveyard, the headlands, finally the sea, the horizon and then the sky, for it was the sky that for a moment set me free.

Opening

The time of day was crucial as the particular morning I started work was at the same time that disconcerting mood appeared that I couldn’t shake. That morning I looked, pushed a loaded brush into my canvases with what I saw, the force of my focus carried an intensity that burned itself into my visual memory. That was the painting, the creek had it’s own changing agenda. I had plans to own it, wrestle this mood onto the canvas. In a way, a kind if naming it to disempower it. The image, the mood, was seared onto three raw canvases, 8 X10, 24X24, and 36X36 inches. Every day, same time, working two to six hours a day, forcing that mood to quit its demands on me. I became so fiercely focused I couldn’t tell if It was finished with me before I noticed, or when I finished the paintings the mood left me. It took three weeks, and it worked. I was free from it.

Less than a week after while getting up to pee at 3am I looked out the window, was shocked by what I saw, and disturbed by what it might have meant; I stayed up long enough to know that earlier bother had reshaped itself and I must face it. I didn't sleep; in the morning I got back to work. Same size canvases, same discipline, same demands upon myself. I endured the time it took like a struggle waiting for a fever to break. I wasn't happy about it. I didnt think about it being art. It was mine in three weeks. It was something now tamed, held at bay caught in paint. I couldn’t understand the mood other than it was like a painful itch.

Then it appeared at dawn – so pink I remembered my upset stomach proceeding Pepto Bismo. So pink it was shocking. After that, a freezing morning fog, so cold it hurt to touch my cheek. It was like an image in frozen silver. Pain and beauty, I never asked myself why. I just painted. On and on, throughout the year, I toughed out my moods by meditating on the painting, simply contemplating the landscape – using it for healing, freedom from whatever it was that nagged me. The moment I had finished one painting another mood, inspiration, striking light on the creek demanded attention.

Main Gallery

I undertook my work without question. I followed this direction, finding little comfort in the process, but accepted some meaning, humor, joy, surprises, childhood memories. Pain paired with purpose. After a rain storm acted out on two canvases was complete, I turned to see the sun break through a thick fog and light just the creek, another painting to focus on in a heartbeat. The river showed me it’s moods when I wasn’t burning with getting mine handled. One complete year minus two weeks.

While at my painting position, buzzards circled the sky over the watershed. I witnessed two ravens murder a hummingbird; an eagle spooked my cat for his life, he ran inside and hid in the bathroom. I stood at my window, delighted in hummingbird mating ritual flights, and hummingbirds appeared in front of my face as if to say, Oh! Hey - what’s happening? Snow white egrets stood like statures over matted watercress lining the creek for the longest time, patient for a frog or snake to take to dinner. While I was at work priming my next canvas a Great Blue Heron swam, owning the air passing level with my window like she was a battleship patrolling the sea. White moths flitted around the blackberries. A possum crossing the small patch of grass in front of my window caught my eye and toddled on. In twilight, five pale egrets chose a tree across the canyon from me to make their bedroom. I found my brand of peace has a price I willingly pay.

I would free each finished canvases from their stiff boards to roll and store away in my closet. When friends would visit I’d unroll the paintings placing them on the bed like clothes to show them all together – the canvases were so floppy, I realized they were like animal skins collected by explorers, hunters – a trapper.

Hey! Worked for me.

Dawn

Pudding Creek collection

 

FLOCKworks has entered its 9th year
"building community through creativity"
This is the 100th exhibit in our community
Art@Odd Fellows Series

http://flockworks.blogspot.com

   


I return to being busy.

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last update January 2016

Recent Work 201520172016201420132012

 


E-MAIL James Maxwell

 

 

 

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This site promotes James Maxwell - multimedia artist and author.

Its contents supports the work of James Maxwell multimedia artist and writer. As a graphic designer his work consists of being a teacher of watercolors, oils, acrylic, and other graphic media. He is commissioned for paintings in private collections, and public venues. His print works ranges from etchings to glicee. Author of "The Concrete Gourmet's Cookbook - Solid Recipes" - the book consists of 12 chapter of how to make objects using the referred concrete recipes, cement recipes, using concrete as fine art material, cement as media. The how-to use these concrete projects range from making garden planters to food safe serving vessels, worm bunkers to sculptural mixes, and day to day usable objects to follies.

Names and words associated with James Maxwell are: artist James Maxwell, author James Maxwell, illustrator, Graphic designer, painter, watercolorist, sculptor, multimedia artist, writer, The Concrete Gourmet's Cookbook, cement recipes, concrete recipes, how-to mix concrete, concrete art projects, Along the Way - Travel Stories, he is copartnered with Mendocino Stories an online community of artists, writers, and musical artists, http://www.mendocinostories.com, he is one of three coauthor, and the graphic designer, of Along the Way Travel Stories.

© James Maxwell 2010 | P.O. Box 2627 | Fort Bragg, CA 95437 | jasmax@mcn.org