I see that artist Paul Harryn has commented his thank yous on the post below (click here to read) and I note that in doing so he did not foist upon us a link to his work. I use the word “foist” rather tongue-in-cheek because it is perfectly acceptable these days (perhaps even advisble) to take full advantage of any and all networking opportunities, especially on the Internet. Anyway, his omission fueled my curiosity and I turned to Google where I found a link to Monsoon Galleries and quickly fell in love with a number of works, none of which I can afford at this time. Take a look at Sounds of Sevilla, a pastel on paper that he did in 1993 and the three-foot square acrylic-on-wood from 1999 titled Paris Paintings: Passages.
He’s no stranger to jazz (the 1991 and 1998 Newport Jazz Festival posters are his), but he’s no Johnny-One-Note. His works vary in mood, and as I read more about him, his thoughts and approach, his words clearly expressed the empathy between the arts. He writes of his “interest in contour line drawing and being able to capture the essential gesture of a figure or event and the ambiance and mood of the environment…[and] in having my work express an idea and communicate with the audience.”
And to me, this next pararaph might well apply to my work as a biographer:
Since my work is informed by a diverse number of sources, I’m often presented with the challenge of merging these ideas and techniques into a decipherable and homogeneous format. As a result my paintings are multi-layered, sometimes consisting of as many as fifty paintings and/or events on one painting. Through each layer or sub-painting I decide what is most pertinent, interesting, and innovative. I apply a resist to those areas to ‘save’ them while I apply yet another layer or sub-painting; remove the resist and continue this process fifty or sixty times. Sometimes what I saved previously does not make it to the final edit. It’s a very fluid and Darwinian process resulting in paintings that come to conclusion when they achieve an innate balance between past and present.
While I’m on the subject of visual arts and jazz, you should also check out the wonderful video report by Nate Chinen at The New York Times. It’s about a seven-movement suite called “Portrait In Seven Shades” composed by saxman Ted Nash on commision for Jazz at Lincoln Center’s “Jazz & Art” concert. The report beautifully integrates the images Nash chose for inspiration with some rehearsal clips and interview in which Nash talks about his process. The suite will debut this weekend, Thursday, February 22nd through Saturday the 24th at Rose Hall where, according to NY1, the images of the artworks will be projected on stage during the performances.