How art can impact a space.

This is an excellent example of how artwork has the power to impact an interior space. Two of my paintings here provide bold additions to a modern kitchen. So is it then bold modern? A new movement? Regardless, I'm pleased to see my art on the cover of Design New England!

...September exhibits.

I'm participating in these two exhibits this month. Both galleries are excellent and I'm honored to be hanging beside some incredible artists. 

...new triptych.

I'm just about finished with a new triptych of still life paintings. When are they ever finished? When they leave the studio. From rough journal and yellow pad pen concept sketches to 48"x 60" canvases, these three jumbo creations have initiated my temptation series. Each will participate in the September still life exhibit at CK Contemporary Gallery here in San Francisco. 

The 6th Annual Summer Studio Drawing Sale!

Join us this Saturday and Sunday 6/28-29 for drawings galore! 

Everything begins with a drawing. It's the most primal form of artistic expression. Whether it's charcoal on the finest French paper or charcoal on a cave wall. Whether it's graphite on Mylar or ballpoint pen on a bar napkin. Whether it's a pen and ink masterpiece or a doodle on a used envelope, drawing is the essence of creativity. Come and see!

Any questions or requests please call (415) 751-4232.

...coastal harvest.

Last month I've been working on a harvest painting. It's my interpretation of a field and the workers there about forty-seven miles south of San Francisco. Along the coast the climate apparently is ideal for strawberries. It's a place I enjoy leaving SF to visit and observe. To sketch, draw and study. To get out of the studio and see real labor juxtaposed with a beautiful ocean backdrop is one way to calibrate myself. Making it into a painting is another.

Excuse the inconsistent photos. The reflected light from today's foggy sky causes crazy glare!

"...deserve your dream."

Three simple words. A thought distilled to its essence by Octavio Paz. What more needs to be stated? So...in my studio are a handful of projects in progress including the details below. 

...new journal.

My loyal journal of choice is a fine book made in Japan. I always look forward to making the trek to Japantown for my perfect bound blank book. It waits for me stacked with its brethren there at Kinokuniya Stationery and Gift Shop. Actually the shop itself is worthy of a visit even if for no reason whatsoever. This place is as unique as the selection of journals, sketchbooks and pens it carries.  The shelves display an eclectic array of cool and kooky items that are quintessential Japanese. I explore some but I'm only interested in the notebook. It's been my choice since the '90s. Since I take my journal everywhere it's vital that the volume takes a good roughing up and doesn't fall apart. This book is extremely durable.The cover usually gets a sketch or a paint job and this time I've chosen to sketch the front with a symbol to indicate what lies within. Some things do not change after all.

...easel to easel glimpse.

So here's the creative action in the southwest corner of my studio. These two paintings and a charcoal study for another sit in temporary stasis. Very temporary. The drawing is for a commission in progress over on another easel. And while the west wall features a still life quartet coming alive, on the north floor two big pieces wait their turn to be mounted on panels, retouched and framed. On the drawing board are more rock studies. One rock painting is getting attention too. Yesterday was foggy. Today there was sun. I begin a new journal tomorrow.

...easel to easel.

Working on one creation at a time only happens in the moment. Except for quick sketches, figure drawing sessions and the rare plein air painting, I've always bounced from easel to easel to drawing-board to sketchbook and back again. All projects are happening simultaneously. It's a dance that keeps the ideas vibrating. Orbiting. Flowing. Fresh. The possibilty of new perspectives. Seeing the overlooked. The time away from each artwork is vital. But so is maintaining an intimate relationship with each piece. Balance. Individuation. It's the way I've evolved in my studio. It's how I think. And pivotal in my orbiting is the sketchbook. A delicious meander into streams of consciousness. Starting with a cup of tea.

...studio corners.

Looking at the overlooked is not exclusive to the world outside the realm of art galleries and art studios. Sure it's in those sanctuaries of creative display and output that artists share their observations, responses and expressions. Visions pulled from within are put on paper. Vistas seen from without are scrubbed on canvas. Symbols and icons built from anything and everything are suddenly there to share. Actually not so suddenly. These big ideas hang on the the main walls demanding and getting most of the attention. Yet in these colorful spaces there are also hiding places. There are niches, drawers and back rooms. The cloakrooms of temporarily overlooked art. There waiting in hiding spots, for that adventurous and discerning seeker of the unexpected, are treasures. Drawings, sketches, paint studies, doodles on paper cups, and experimental art of all kinds. Virtuous in their ability to catch an eye despite being out of the limelight for the moment. A painting reclines against the wall by a door near the flatfile and beams bright in the dim light. A discovery! A carved figurine sitting on a busy shelf appears from the clutter as the paragon of elegant beauty. Uplifting! A charcoal rendering peaks out of a drawer and speaks with explosive power. Unforgettable! 

For the intrepid art lover or collector there's much to be found in not so obvious places. It's just a matter of looking. 

...coastal rocks continued.

Coastal rocks are the foundation of many of my sketches this year. Below are four. On my road trip to Los Angeles (for a college reunion) I found many places to linger and observe. The shoreline around Santa Barbara is where I found some familiar captivating scenes. These quick drawings act as reminders of what I felt at the time. Such as the feeling of peace while in the presence of such strength and majesty.  I'm editing out most everything, except what I find most compelling. The rocks, sea, clouds and bands of hillsides. Nothing man made, except, I am tempted to include the Amtrak Pacific Surfliner train that sprints through parallel and close to the beach. It makes an undeniable impact. Like a rogue wave it comes fast then it's gone. So perhaps I'd better go back to Santa Barbara for another look.

...coastal harvest 2014.

Fort-seven miles south of San Francisco along the coast are fields of strawberries. Farther south are more. Swanton Berry Farms and Coastway Farms grow berry varieties from there to Santa Cruz. This spot is close yet remote. I've chosen this location to interpret because of what I find to be an uncanny juxtaposition between the toil of field labor and a glorious ocean view. This charcoal drawing is a compositional study for the painting that will follow and will be my first harvest painting of 2014. 

I intend to create two versions but of different sizes. One is a commission which will hang above the fireplace below. For them I had my small paint study blown up to see how it might impact the space. 

Now it's time to proceed with the painting itself.

fragrant cloud rose

The scent given by the Fragrant Cloud rose is one of the most pleasing to experience. The flower itself is a fantastic visual treat and it's beauty is matched by its own perfume. It's impossible to capture the rare aroma it exudes through my art. It's not a rose. It's paint. Still I was compelled to honor this flower just the same. I've reworked this painting several times and finally it is complete as the composition above. Fragrant Cloud, 24"x24" oil on canvas.

...looking.

If the only way to know something is to try and understand its essence then sketching might be the best way. I've been studying the coastal rocks at nearby Lands End for a long time. These big chunks of stone have been sculpted by wind, water and time. Now they're drawn by me. They want easel time and and will be getting it. 

...the three pillars of zen.

Just as the sketchbook is a place for random studies, streaming and reportage  so are wayward panels and scraps of canvas I find while cleaning the studio. Using my current palette I take time out from the projects in progress to play around with something completely unrelated. A little planned spontaneity goes a long way toward satisfying other facets of my creativity.

SF Open Studios!

This weekend San Francisco is rife with a range of cultural activities including the start of SF open studios throughout the northwest parts of the city. I'll be exhibiting new paintings alongside the wonderful artwork of other artists inside my workspace. All the art is connected to an ocean theme. Clearly the sea surrounds us in this town and inspires so come be surrounded by sea-inspired imaginings Saturday and Sunday all day!

Where? 

Jay Mercado Studio

4754 California Street @ 10th avenue

415-751-4231

...bed sheet.

Resting on my west wall easel is a  48" x 60" composition titled Bed Sheet. As a painting process it's continually meditative and as an artwork I want it to be the same.

...ocean beach pillow.

Living near the beach I can't help but include the ocean in my sketches, my concepts and ultimately my artwork. The above image is a detail from one of my recent paintings. The ocean starts to appear as I walk west toward home. The horizon always seems high as I descend westward through the avenues. This is especially so as I get closer to Lands End begins above Sutro Baths. The view never gets old and is always worth the walk from 10th avenue to 48th.

...SF Chronicle interview!

Sunday in the San Francisco Chronicle Magazine I was interviewed about art making and other things. I'm grateful to be in my hometown newspaper!

Many thanks to Sam Whiting and Russell Yip for making it a cool happening.

http://www.sfgate.com/default/article/Drop-ins-welcome-at-storefront-art-studio-4775795.php

...new paintings.

I have a pair of red-lens glasses that when worn makes the world a monochrome place. They've helped me see form without considering color for the moment. Looking at a painting in a mirror or through a reducing lens provides a fresh perspective on a developing artwork and so does the removal of color. And then I appreciate the power of color more after I've taken it away for a bit.