Artists' Blogs

The blink of an eye

By |June 5th, 2015|Syndicated Content|

The blink of an eye

“One thing is clear; there is no progress in art.”
Willem DeKooning

Something washes over me when I pick up a piece of charcoal and draw. It’s primal; I feel the distant call of thousands and thousands of years of ancestry. Maybe it’s because charcoal comes from one of our first technologies: the harnessing of fire.

We make paintings and drawings to claim our existence in the world. This is most evident in cave paintings. They are a primeval psychological expression: of grappling with existence in a world vast, mysterious, and inexplicable. This work is not about taming the natural world, as is most later European art; these animals are not “tamed” for our use. This work is about survival; this is why they are so powerful.

For 35,000 years the aesthetics in these paintings were handed down from generation to generation; there is too much consistency in the work to prove otherwise. Think about that for a moment. These artists seemed not to care about “progress.” (Was progress even a notion they had?) I’ve heard people whine that nothing new has been done in the art world for decades. Decades? Compare that with 35,000 years!

We know about geological change taking place over eons. And yet, on the human scale, we think of 35,000 years as an eternity. We think of the paintings as ancient; yet the cave that has been painted upon is virtually unchanged. So when looking at cave paintings one is presented with the paradox of time: thousands of generations passing in the blink of an eye of Mother Earth.

Caves have no right angles. Did Paleolithic man know what a rectangle was? How often would he see a straight line? Perhaps the only time he witnessed a straight line was when looking out onto the ocean’s horizon. Or maybe he noticed the path of a falling object described a straight line. I look up from the rectangular screen of my laptop. I see the rectangle of the doorway into my kitchen; the rectangular windows letting light in. I inhabit a world of rectangles. Yet they are so ubiquitous I am unaware of them. At times I’ve wondered what an alien would see if they were to visit one of our museums. I think they would wonder why there are so many rectangles on the walls.

I was going to write that we’re prisoners of the rectangle. But something is giving me pause. When I look at a Mondrian a calm comes over me. I’m witnessing the sacredness of the horizontal and vertical line. These straight lines hint at the perfection of physics, or at least how we experience physics: the up and down force of gravity; the horizontal line of stasis and rest. The right angle is a symbol of the sacred union of the activity of gravity and the stasis of rest.

In cave painting we’re witnessing the mystery and wonder of the physical world. In Mondrian we’re witnessing the mystery of the laws that govern the physical world. The subject is irrelevant. What is relevant is the mystery. The awe. The incomprehension and the inexplicable.

The finite mind tries to grasp the infinite and is left peering into the paradox of existence.

Visiting the Gabriele Munter House in Murnau, Germany

By |June 3rd, 2015|Syndicated Content|

In the summer of 1909, in the beautiful Bavarian town of Murnau, nestled in the Alps, the 20th century art movement, The Blue Rider (The Blaue Reiter) had its genesis. That was the summer that artists Gabriele Munter (1877-1962) and Wassily Kandinsky (1866-1944) found a charming house on the hill overlooking Murnau, with stunning views of the Alps. The colorful village houses, intense light, local folk art, along with images of St. George slaying the dragon, would inspire the ground breaking works of the artists of the Blue Rider movement. Kandinsky, Munter, Franz Marc, August Mackeand Alexi von Jawlensky, painted together in this picturesque town, and influenced each other’s work.

Visiting the Gabriele Munter House in Murnau, Germany
                         Munter House in Murnau. Photo by Marie Dauenheimer

Kandinsky, Munter and their friends gathered at the “Russian House”, as the locals called it, to paint en plein air.  Influenced by local folk art  (paintings on small glass panels, with a bright palette and heavy dark lines) their work became more expressive, with an abstract quality.  After disassociating themselves from the Neue Künstlervereinigung München  art movement,  Kandinsky and Marc decided to start their own group, and write an almanac of their artistic philosophy.  Kandinsky took inspiration in his favorite images of St. George slaying the dragon, while Marc drew from his love of painting animals, combined the Blue Rider was born.  The first almanac featured a cover image of an abstracted horse and rider.



Visiting the Gabriele Munter House in Murnau, Germany
                    The Blue Rider Almanac cover by Wassily Kandinsky, 1911

The Blue Rider movement lasted from 1911-1914, and its artists shared a similar approach and sensibility to painting.  Their use of expressive, symbolic color, dramatic brushwork, and spiritual themes dominated their paintings.



Visiting the Gabriele Munter House in Murnau, Germany
                                      Yellow Cow by Franz Marc, 1911

Kandinksy and Munter lived in the “Russian House” from 1909-1914, when the onset of WWI forced Kandinsky and von Jawlensky to return to their native land of Russia.  Tragically, both Franz Marc and Auguste Macke were killed in battle.



Visiting the Gabriele Munter House in Murnau, Germany
                           Village Street in Murnau by Wassily Kandinsky, 1908

Gabrielle Munter lived in this beautiful house in Murnau until her death in 1962.



Visiting the Gabriele Munter House in Murnau, Germany
Staircase in Munter House painted  by Wassily Kandinsky, 1901. Photo  by Marie Dauenheimer


The Munter House is now a museum open to the public. I had the pleasure of visiting this historic home while recently traveling through Upper Bavaria. While none of Kandinsky’s paintings are on view, there are some of Munter’s works, along with hand painted furniture made by the couple, and local folk art, which inspired the Blue Rider artists. The presence of Kandinsky and Munter is felt in this house, their palettes are displayed side by side near a window overlooking one of the beautiful views that inspired them.



Visiting the Gabriele Munter House in Murnau, Germany
 Wassily Kandinsky and Gabrielle Munter's palettes, Munter House, photo by Marie Dauenheimer

An hour away in Munich the largest collection of Kandinsky’s work can be viewed at the Lenbachaus Museum.  In 1962 Gabriele Munter donated a vast collection of over

1,000 paintings, drawings and prints, all created by the Blue Rider artists.



Visiting the Gabriele Munter House in Murnau, Germany
                 View of Murnau from the Munter House. Photo by Marie Dauenheimer

For more information on the Munter House I recommend the book The Munter House in Murnau by Matthias Muhling and Isabelle Jansen.  There is also a wonderful chapter about the Munter House in the book Artists’ Houses by Gerard-Georges Lemaire.  


Visiting the Gabriele Munter House in Murnau, Germany

                                                 Dandelions by Gabrielle Munter

For more information on visiting the Munter House visit their website:

http://www.muenter-stiftung.de/en/the-munter-house/





Laughing at the word two

By |June 1st, 2015|Syndicated Content|

“Let the poet dream his dreams. Yet, the poet must look at the world; must enter into other men’s lives; must look at the earth and the sky; must examine the dust in the street; must walk through the world and his mirror.”
–William Baziotes

I have a tendency to get lost in the clouds and deny the reality of my corporeal existence. I have an inner committee that has been trying to convince me for years that if I just paint and meditate enough I will float away on a blissful spiritual ether. This committee informs me what I should and shouldn’t feel; that I shouldn’t be sad, angry, or jealous. Rather, I should always be happy, joyous, and free. By labeling one thing as “bad” and another as “good,” I’m codifying and separating. I don’t like to think of myself as a dualist. But this is clearly the case. I’m labeling the emotional world, physical world, and spiritual world as separate entities. I’m not thrilled with this unconscious tendency. 

As much as I would like to think I am, I’m not just a spirit-body composed of particles of love. Rather than ignore and separate myself from the more uncomfortable feeling states I have within, what would happen if I tried to acknowledge and witness them? I’m listening to the anger I have within. What does it have to tell me? What does this pervasive sadness I have been desperately running from have to tell me? What about fear? God forbid I look at envy or jealousy! And I’m not just limiting myself to “negative” emotions. What about joy and love?

Clearly, these feeling states are diverse and multifaceted. Yet I think of my psyche as one thing. There’s a unity here, and contained within it are my variegated feeling states. This isn’t just true of my psyche. Billions of cells arrange themselves to create my physical body (not bodies). And the physical body and emotional body are contained within the energetic makeup of the universe.

I don’t look at it as the many composing the whole. Rather, the one gives birth to the many. I came across this Rumi poem the other day:

When grapes turn 
to wine, they long for our ability to change.

When stars wheel
around the North Pole,
they are longing for our growing consciousness.

Wine got drunk with us,
not the other way.
The body developed out of us, not we from it.

We are bees,
and our body is a honeycomb.
We made
the body, cell by cell we made it.

My work has always been about transcendence and our energetic makeup. The symmetry in many of my pieces speaks to unity and oneness. But I am moving away from this with the new body of work I am currently making. I’m interested in putting the chaos, the hustle and bustle, the sights, sounds, and smells of the entire world in the panel. In other words, diversity has become my subject. And how the diverse in its entirety is a unity.

Laughing at the word two
Laughing At The Word Two (after Hafiz)
22"x28", silk and encaustic on panel, 2015

Bryan Christie Design: Illustrations Featured in “Understanding The World: The Atlas of Infographics”

By |May 28th, 2015|Featured Work, Syndicated Content|

Six pieces created by Bryan Christie Design can now be seen in the [...]

Dual Antiplatelet Therapy

By |May 7th, 2015|Syndicated Content|

Journal cover image about duration of dual antiplatelet therapy following angioplasty. Antiplatelet medicines work to keep platelets from sticking together and forming blood clots. There have been many recent studies debating whether shorter or longer courses of dual antiplatelet therapy are better for patients undergoing percutaneous coronary intervention. 

The post Dual Antiplatelet Therapy appeared first on Clark Medical Illustration.

Logo Redesign Part 3

By |April 23rd, 2015|Syndicated Content|

I've had some very good logo discussions already, and now I'd like to share some basic information about my business which could be represented in my logo, or elsewhere. Mission statement (written about 5 years ago) - We provide expert, high-...

Logo Redesign Part 2

By |April 22nd, 2015|Syndicated Content|

Here are some brainstorming doodles I've done. "No idea is a bad idea" at this stage. It could also be a name-only logo with no "mark" or picture associated with it. As you can see, I like brains, kidneys, cells, DNA (although I just spotted a left-han...

Logo Redesign

By |April 21st, 2015|Syndicated Content|

I'm in the process of updating my website. Along the way, I've questioned some branding elements, and of course, the logo has come up. Clint suggested a redesign and I'm not sure, but I think I am leaning towards a new one.I'd like to share t...

Hello, Readers!

By |April 21st, 2015|Syndicated Content|

Hi everyone. Ok, so it's been a while. I've been here, just not posting. And by here, I mean, all over the country again. If you follow me on facebook, you are probably in the know, but here are some updates:We have had a child. He just turned two and ...

Generalized Anxiety Disorder

By |March 31st, 2015|Syndicated Content|

This illustration was created for a May 2015 AFP article reviewing the diagnosis and management of GAD and PD in the primary care setting. While GAD and PD can develop among children and adolescents, diagnosis and care for these younger populations requires special considerations beyond the scope of this review. Generalized anxiety disorder (GAD) and […]

Wound Care

By |March 27th, 2015|Syndicated Content|

This illustration was created for the January 15, 2015 feature article for American Family Physisician about Wound Care. This article reviews common questions associated with wound healing and outpatient management of minor wounds: BROOKE WORSTER, MD; MICHELE Q. ZAWORA, MD; and CHRISTINE HSIEH, MD, Thomas Jefferson University, Philadelphia, Pennsylvania Am Fam Physician. 2015 Jan 15;91(2):86-92.   Patient information: […]

Innovation and medical illustration?

By |February 15th, 2015|Syndicated Content|

We provided medical illustration for a leading company in innovation and best practice in the fields of surgery, radiotherapy and digital integrated O.R.s Can innovation and traditional medical illustration work together for a better communication? Surely yes. We have been asked to participate in an informative design project. Brainlab is a software company with applications ranging from patient positioning in radio surgery treatments. They also provide software-guided surgical navigation that facilitates the secure exchange of medical images. The assigned

Understanding The World: The Atlas Of Infographics

By |January 5th, 2015|Syndicated Content|

I'm honored to announce that six of our pieces are in the just published book, Understanding The World: The Atlas Of Infographics. Sandra Rendgen did a wonderful job writing and editing the book. The artists on my team, Joe Lertola and Jeong Suh, did b...

Henri Matisse: The Cut Outs at the Museum of Modern Art in New York

By |November 4th, 2014|Syndicated Content|

 “Instead of drawing and then applying color, I draw directly with the color.”

These are words Matisse wrote to his friend and fellow artist Pierre Bonnard describing his paper cut- out works.


Henri Matisse (1869-1954) was a prolific French artist whose career spanned six decades.  His body of work includes beautiful paintings of figures, still lives and landscapes, best known for their strong palette and varied textures.  However Matisse considered his later work--paper cut-outs- his life's masterpieces. These stunning large-scale paper cut-outs were created, as Matisse called it by, “drawing with scissors.”


Henri Matisse: The  Cut Outs at the Museum of Modern Art in New York
                             The Red Room by Matisse, 1908 (oil on canvas).

Currently on view at the Museum of Modern Art (MoMA) in NewYork is the most comprehensive Matisse cut-out exhibition ever mounted.  The show, which was on view at the Tate Modern in London, will be at MoMA until February 8, 2015, and is a must see for anyone interested Matisse's later works.


Henri Matisse: The  Cut Outs at the Museum of Modern Art in New York
                       The Horse, Rider and Clown by Matisse, 1943 (cut paper)

Matisse first use cut paper in his work creating the Barnes mural for Dr. Albert Barnes’ famed Barnes Foundation in Merion, Pennsylvania (now located in downtown Philadelphia). 


Henri Matisse: The  Cut Outs at the Museum of Modern Art in New York
     The Dance Mural by Matisse, 1932-1933 (oil on Canvas), Barnes Foundation, Philadelphia, PA

Henri Matisse used cut paper in the 1930s and early 1940s as a compositional aid while working on paintings.  In Still Life with Shells(1940) Matisse cut out the shape of the various objects in his composition and used string to simulate the tabletop.  This allowed Matisse to move the elements around until he arrived at the desired composition.


Henri Matisse: The  Cut Outs at the Museum of Modern Art in New York
                         Still Life with Shells by Matisse, 1940 (oil on canvas)

In 1941, after recovering from abdominal surgery, Matisse found easel painting too strenuous so he started experimenting with cutting gouache painted paper into abstracted organic shapes.  With the aid of several assistants Matisse was able to “cut directly into color”. The paper cut outs were attached to the studio walls using thumbtacks.  Matisse directed the lively compositions from his bed or wheelchair.


Henri Matisse: The  Cut Outs at the Museum of Modern Art in New York
                                  Matisse creating cut-outs in his studio, 1940s

The wall size “The Parakeet and the Mermaid” features animated plants, pomegranates and other organic shapes including a blue parakeet and mermaid.  “I have made a little garden all around me where I can walk. There are leaves, fruits and a bird. I have become a parakeet and found myself in the work.”


Henri Matisse: The  Cut Outs at the Museum of Modern Art in New York
        The Parakeet and the Mermaid by Matisse, 1952, wall size paper cut-out mural

In  1948 Matisse began work on a four year cut out project for the Chapel of the Rosary located near his studio in Vence on the French Riveria.  Matisse’s extensive work for the chapel included radiant stained glass windows, and expressive line drawings painted on tiles that dominate the chapel.  Matisse also designed vestments and a tabernacle for the chapel. “It is the result of all my active life.  Despite all its imperfections, I consider it my masterpiece.”

Henri Matisse: The  Cut Outs at the Museum of Modern Art in New York
                The Chapel of the Rosary in Vence, France, by Matisse, 1948-1952



I highly recommend a visit to see this wonderful exhibition of at MoMA!  I also recommend the catalog, Henri Matisse: The Cut-Outs published by the Museum of Modern Art .  Another book of interest on Matisse and his later works is Henri Matisse, Drawing with Scissors, Masterpieces from the Late Yearsby Olivier Berggruen and Max Hollein, published by Prestel.  For a book on Matisse’s masterpiece The Chapel of the Rosary I recommend Matisse The Chapel at Vence published in 2013 by the Royal Academy of Arts