My Obituary

I am taking a professional development class for artists here in Los Angeles, and our assignment for this week was to write our own obituary.  The goal of this exercise was to think about what we want to accomplish in our lives – what are our goals, and what do we want to be remembered for.  This was more difficult that I had anticipated – it wasn’t easy to think about what I want to accomplish, but ultimately, the exercise was rewarding.  It was effective in helping me flesh out what I really want to do with my art career, something artists often don’t think about.  If you had to write your own obituary, what would it say?  The text of my obituary is below:

BRADLEY HANKEY 1979 – 2067

Visual artist Bradley Hankey died in his Los Angeles home on April 21 at age 88. Hankey was born in Oregon, and moved to Boston to attend Massachusetts College of Art, where he graduated with a BFA in 2007. Hankey moved to Los Angeles in 2009, and graduated from UCLA with a MFA in 2013.

Hankey’s early work was influenced by Surrealism and artists such as Hopper, Hockney, Itten, and De Chirico. Places were also critical to his work, and his paintings were often inspired by his surroundings and travels. The “Natural Beauty” series of paintings, begun shortly after moving to Los Angeles, comments on the natural and the artificial environments of the area. These are among his best known works.

After graduate school, Hankey briefly taught at several area schools in Los Angeles, and was a frequent guest speaker at art schools around the country. His lectures often revolved around the importance of color theory and critical thinking in painting, as well as keeping traditional painting techniques alive. Hankey’s books are widely read. While his works often bordered on the abstract, he considered himself an observational painter, and championed this style of painting throughout his career.

Hankey’s works are shown in galleries in Los Angeles, New York, and Hanoi. His paintings have been collected globally, and he has shown in Museums in the United States, Vietnam, Costa Rica, and Tanzania. A retrospective of more than 100 paintings was mounted in 2035 at the Los Angeles County Museum of Art, and traveled to the National Gallery of Art in Washington D.C., as well as the Museum of Fine Arts in Boston.

Painting in West Hollywood: Day 4

Today was a great painting day in West Hollywood. After a couple of days of cooler temperatures, the heat was back today. I love the heat, but I have made a mental note to choose a shadier location for the next painting.

The painting is filling in with color, and almost all of the original white space is gone. One of the joys of my job is discovering the intense color in the every-day world around us, and this location is no exception. In order to bring color harmony to this painting, I mixed a large amount of a purple-gray color. I then mixed almost all of my others colors with purple-gray, especially the background colors in the hillside. Some of the foreground colors are mixed full-strength, without purple-gray, to bring those colors forward create a sense of atmospheric perspective.

I am excited about this painting, and glad that it is coming to fruition. I had been looking at this scene nearly everyday; when I walk home from the gym, I wait here for the “walk” sign to cross the street, and day after day, I could see this painting. It became an obvious choice for my first plein-air painting in LA.

A few people stopped to chat today. One woman commented, “That’s great, I love that you are doing this.” Another guy: “This seems like a civilized way to spend the afternoon.” I enjoy interacting with the public, and this is one of the major reasons I have taken to the street with my work. I am looking forward to getting back out there tomorrow.

New word: Pyrocumulus

As the now-infamous Station Fire continues to burn outside Los Angeles, a new word has entered the local vocabulary: pyrocumulus. This word defines the awesome cloud formations resulting from the intense heat and smoke of large fires. The mushroom cloud from the Station Fire has been looming over Los Angeles for more than two weeks now, and often it is the only cloud in the sky. It is awesome and beautiful, a fact that many Los Angelenos are torn about. It is hard to admit that something resulting from intense destruction could be beautiful, but we all took pictures in awe of the eerie pyrocumulus clouds, that rise from the ground instead of from above.

The fires and the resulting pyrocumulus clouds triggers thoughts about the common paradise/apocalypse dichotomy associated with Los Angeles. As a new resident, I find this dichotomy fascinating. Gregory Rodriguez wrote a compelling piece exploring this idea in the LA Times recently. An excerpt from the article:

“Here's what the pyrocumulus cloud tells me: We should stop thinking of Los Angeles in such hopelessly schizophrenic, contradictory, "pitched back and forth" terms. That's because the theological notions of paradise and apocalypse are not so much opposed as deeply intertwined....

Far from being the victory of hell in L.A. over heaven in L.A., they reminded me that in a very real way, we can't have one without the other. The cloud is just what it looked like: two sides of the same coin; the one defines the other. Heaven, hell. Ugly, beautiful. Apocalypse, paradise. Los Angeles.”

Susan Orlean also recently wrote about the Los Angeles heaven/hell dichotomy for The New Yorker. In her article, she writes, “this week, hell won out.” She wrote her article at a time when multiple fires were burning out of control. At the time of this writing, the only active fire is the Station Fire, and its 160,000 burning acres are 62% contained.

I have only been in Los Angeles a short time, and already, my thoughts about my personal environment are changing. The foreign is becoming domestic; the strange is becoming normal; the unnatural is becoming natural; the ugly is becoming beautiful. Los Angeles.

Painting on location in West Hollywood

I painted outside today for the first time in Los Angeles. I prefer to work from life, rather than from photographs or other source material. I have always painted outdoors while on residency, but I haven't painted often in public places in the States. It was so much fun, and many people stopped to talk while I was working. One tourist even took photos of me drawing, which I thought was funny. I had thought that it would be too hot to paint outside in LA during the summer, but we have been having a relatively mild summer. The normally bright blue sky was a little hazy today, because of the fires that are raging outside the city.

This image shows my easel set up on Santa Monica Blvd. near my apartment. The preparatory drawing I'm working on begins with the left margin of the photo, and ends before the orange and green sign. The large blank space on the right of the canvas is the cream-colored building across the street. Interestingly, the establishment with the orange and green sign is Barney's Beanery, a restaurant and bar, and a favorite of old Hollywood with celebrity patrons such as Marilyn Monroe, Clark Gable and Errol Flynn.

This painting is part of my "Natural Beauty" series about Los Angeles, which is in full swing. I love it here, and I am excited to continue work on this series.

The Getty Center, Los Angeles

Upon arrival to the Getty's parking stucture, you board a tram that travels up a steep hillside to reach the the Getty Center atop the summit of a ridge. According to Getty literature, this tram ride is designed to give visitors the feeling of “being elevated out of their day-to-day experience.” When you exit the tram, you really feel like you have been transported beyond the mundane.

The grounds and gardens compete in beauty with the collections. To be fair, I only had time really to view a small number of works in the museums, because there was much to see outdoors as well. All white marble and natural stone, rising above the surrounding hillsides, the complex gives you the sensation of floating. The buildings have a modern aesthetic, but they also feel very old at the same time, almost ancient, as if the structures could also be centuries-old ruins.

It was a typically sunny day in Los Angeles, and very hot. The bright blue skies contrasted with the pale stone of the complex. On clear days the views are astounding, and stretch all the way to the Pacific Ocean and Catalina Island, with downtown in the other direction.
We are in the middle of fire season, and right now the hills in the Angeles National Forest, from Acton to Altadena, are on fire. The mushroom cloud of smoke rises above Los Angeles.
We took a one-hour guided tour inside the museum, and we looked carefully at four different works, within the theme of classical art. The pieces we viewed included Joseph Nollekens' "Three Goddesses", and our tour guide's knowledge of classical history and the background of the works was both engaging and enlightening. She brought the narrative and the sculptures framed by it to life.

The Getty remains free for visitors, but there is a $15 fee per carload. The grounds house four main pavilions that contain the museum's collections, several gardens and sculpture gardens, as well as the Getty Research Institute and the Conservation Institute/Foundation. There is so much to see and do while there; multiple visits are required. I am looking forward to going back.

Completed Painting: "Maria's House"

About My Process

My painting process changes from time to time, and sometimes within the same body of work. This painting was a commission, so the process began by having a conversation with the client and viewing the photograph that the client wanted translated into a painting. After we had come to an understanding about what was wanted, I produced a preparatory drawing, which can be seen in the lower left corner of this photograph. This drawing was a very simple pencil drawing, really more of just a line drawing, so I could become familiar with the shapes in the painting.

The next step was to prepare the canvas with several coats of gesso. Once the gesso was cured, I began to transfer the drawing onto the canvas using vine charcoal, which can be easily wiped away with a rag when a mistake is made. Once the drawing was transferred onto the canvas, I sprayed the canvas with a matte varnish to protect the drawing.

I then mixed translucent pink oil paint with Galkyd, which is a fast-drying medium that strengthens the paint film. I then painted the entire canvas pink. It was important that the paint was thin enough that I could see my drawing through the pink paint, as this paint layer acted as added protection for my drawing, while getting rid of the white of the canvas. This is helpful because this underpainting can be left showing through in some parts, bringing color harmony to the piece.

Working from the reference photograph, which can be seen tacked on my easel above the painting, I mixed my oil colors, mixing them with a medium of Galkyd and a little linseed oil, ensuring that the top layer of paint would not dry as quickly as the bottom layer, which is important to avoid cracking. I then began to paint. I normally cover the whole canvas with paint right away, and work on the canvas from there, because it is important to establish color relationships early on. With this painting, I approached it slightly differently, working on one area at a time, within the geometric framework of the drawing, realizing that I may need to change colors when the entire canvas was filled in.

When working from photographs, I think it is important to use them rather loosely – more of a jumping off point rather than trying to create a direct copy. Not only is the painting more interesting in my opinion, but it is much more fun to paint.

The painting has been completed, and I am waiting for the paint to dry so I can take a photograph of the work. I will post the photograph of the completed painting as soon as I can.