My dining room table assembly line factory mode direct. The night shift.

Painting is dead. On.
There's a plethora of painting blogs out there. It seems sudden, almost viral, but it's fabulous to see paintings being posted en masse. Some fairly new ones have cropped up, plus a few I found a few to revisit. I just discovered RSS. Not entirely true, but I just discovered the ease of having feeds delivered. I've been blogging for almost 6 years.
s  l  o  w.
Feel free to leave links to blogs about painting in the comment section, but I will delete spam so fast it will make your head spin, a feat of remarkable skill on the Internet.

http://www.undercoverpainter.blogspot.com
http://painters-table.com
http://www.abstraktion.org/
http://structureandimagery.blogspot.com/
http://studiocritical.blogspot.com
http://progress-report.org/
http://fundamentalpainting.blogspot.com/
http://www.gorkysgranddaughter.com/
http://standardinterview.blogspot.com

Meanwhile.

I have larger works going on at the train car studio, but only 1 more large blank canvases stretched. And being a person of practical considerations and goals, I am continuing my investigation of smaller format works. Yesterday I wrangled up all my spare canvas  and linen, and began my assembly line process of building and stretching again.

Which brings me to the home studio and the train car studio gap lest I did not fully explain earlier this year. I am an artist in residence with a studio space at Cummins Station here in Nashville for the duration of a year. I am working out of a train car. No live-in, just work space. In return for the studio space, I will give them a painting for their collection, and put on an exhibit. I've been there since February. There is one other artist in residence at the train car, but we never seem to see each other. I heard about it from a couple of friends and applied. I'm also working out of the home studio. The home studio is conducive for prepping and I still love working at home. The garage still floods, so turning the living room into a perma studio seems to make the most sense, and will be the cheaper conversion. 

Remember that diptych? Me neither. It was the first large painting in two years and I didn't want to stop working on it. I finally did and realized it was too tight. After working on a couple of other paintings, I went in and took them both back to the point of no return, again. Scary. I still get nervous when I do that.

I'm tired. I'm going to bed. I painted upside down today for no apparent reason. My initial reason was that I did not want the drips to drip downward, but then I forgot and just kept working upside down.