artist

all images are copyrighted © by the artist Skyblue Greenstone, unless otherwise indicated.

Reproduction by permission only.    

draw wealth

mert 2

pride

charcoal on paper – timed drawing, life drawing class ©

redon redux

Redon Redux (c.2003/05)acrylic on canvas ©

ink landscape

mountain waterfall. 1997 travel sketchbook page. circa 5″ x 8″ ©

mscape 2

Marinscape  – watercolor on paper, circa 10″ x 12″ ©

Image result for skybluemindblog

My Leucadia studio – thumbnail sketch. Tiny pencil drawing (c 1.5″ x 2″), one of several panels on single 8″x10″ sheet (graphite on paper) c1987-89.

slash

watercolor on paper  2009  ©

bars

acrylic on canvas (a/c)  ©

study nude

charcoal on paper – timed drawing, life drawing class ©

plug

acrylic on canvas ©

mindscape 2

Dreaming of Wang Li – acrylic/canvas  circa 2006 ©

nanao closeer

Nanao – circa 1995, waterbrush pen & ink/ paper circa 8″ x 10″©

sherbert

a/c ©

temple

tiny pencil drawing, much enlarged. graphite on paper, circa 1987-89. one small panel (approx 1″ x 1.5″)  of a compound, multi-panel drawing, total on 8″ x 10″ paper.  image / photo © May 2016

collage temple

collage on paper approx 5″x 5″. old-fashioned scissor cut & paste. Based on drawing above. Made the drawing, then a few years later found elements from which to make the collage. circa 1990-92. image/photo  May 2016 ©

fog mtn

sketchbook en plein air thumbnail of mountains in fog, Spirit Rock, West Marin, CA, circa August 1996, graphite pencil on paper, circa 6″ x  4″ ©

riders

detail, en plein air stormscape – watercolor & charcoal on paper – complete painting    5″x7″©

tape tape

a/c ©

canyon gold one

gold canyon wall – en plein air   wc/p ©

SON OF

mixed media/paper  detail ©

pinky detail

pinky detail  (2002) a/c ©

desert horizon

desert dream ©

sleep one

thumbnail visionary sketch from dream yoga retreat journal, Squaw Valley CA, June 1969,  pen & ink on paper c. 2½” x 3″ ©

sleep two

thumbnail visionary sketch w/ color notes from dream yoga retreat journal, Squaw Valley CA, June 1969,  pen & ink on paper c. 2½” x 3″ ©

skyfade

watercolor on paper circa 2005 ©

yoyo

mm/p – detail  ©

life 3

charcoal on paper – timed drawing,  life drawing class ©

seasquare

acrylic on canvas (detail), c.2003/05  ©

sparkle detail

acrylic on canvas (further detail of previous image), c.2003/05  ©

orange tower

a/c ©

kiosk

photo: concrete art, found collage – campus kiosk, April 2016 photo ©

squat

acrylic on canvas ©

slot rain

wc/p  ©

cloud detail

detail, en plein air, oil pastel on paper   photo ©

cup blue patch

tea cup (porcelain with blue glaze c 2008) ©

twiks

a/c, 2002 ©

hatch

detail of above painting, a/c , 2002 ©

himal

Kali Gandaki Gorge, Himalayan travel sketchbook page ©

watercolor, graphite, ink  on paper

arp

Sonora mixed media ©

slot 2

wc/p  ©

lota spots

lota water vessel, glazed ceramic c2007. photo   May 2016 ©

purple sea

The Periplus of the Erythraean Sea (2002) a/c ©

black cup

teabowl/communion cup, 2010 ©

detail (below)

reboot

storm 1

storm one ©

storm 2

storm two ©

squijjj

wc/p  detail  ©

splotchy

wc/p detail ©

sor

detail  – mm/p  ©

dome

wc/p ©

teacup

teacup ©

edge

teacup (detail)

desert

under a high desert sky ©

green cup

Lapsang Souchong Mountain tea cup © porcelain, moss green glaze inside c2010

hand green cup

moss

cracks

bright meadow

oil pastel/paper en plein air mountain meadow path ©

sparkle

detail of above  (oil pastel)

tie dye sky

detail, watercolor on paper ©

sor 2

detail mm/p ©

och

a/c ©

pine

 detail of Himalayan sketchbook page (see above) ©

bali-man-head

travel sketchbook 2012 detail – ballpoint pen & pencil

bali-man-detal

bali-man-again

bali-man

dawn one

peri 2

a/c ©

spotty scene

purpy

a/c detail  ©

blue orange

©

bright sea

blue swiggle

teacup, porcelain, blue glaze  ©

squiggle sky

wc/p ©

open cup

swish sky

lights detail

storm bowless 2

wc/p ©

dotty

wc/p ©

mert 2

Outlaw Poet-Painter

“draw art from sunlight, poetry from moonlight”

I’ve never yet been arrested for my poetry or paintings,—though I’ve been told the poor quality of some is criminal. Some of my poetry or artworks also would definitely get me both jailed and executed in several parts of the world. But “outlaw” here is meant not so literally & drastically, but more as an attitudinal approach to political, cultural & intellectual dissent, a scofflaw angle of degagé repose, &/or outraged stance of engagé defiance against injustice and violence perpetrated on individuals, peoples, other beings, and our planet home itself.

Painting & drawing is one of my first loves—I can’t remember when I began making art; certainly before learning to speak my mother tongue coherently. Poetic origins I remember more specifically: a love-poem within a love-letter at five years old written and given to my unsuspecting kindergarten crush. She’d not yet learned to read or write, but the next day kissed me as soon as she re-entered our classroom, so she must have liked my style, even if someone else had had to convey to her the meaning of my written words. A life-long path had been blazed, though not always with such swiftly arrived & pleasing results.

For a year or two before that, I had sometimes spent hours scribbling down my mental compositions in a pre-literate cursive “script” intelligible only to myself. The option of my making a meaningful later re-reading of these squiggly lines lasted only for as many days as my memory retained what I had been thinking as I was committing to paper a fluid written text. If I hadn’t been so private about this production, but had employed my mother as amanuensis, copies transcribed into actual English script might still be extant. My texts were illustrated with my crabbed pencil and scratchboard drawings–usually miniature figurative and landscape panel series, — and with my larger and more fluid fingerpaintings which were typically non-representational mindscapes. I have continued with some of the same visual motifs & approaches in painting throughout my life.

At their sometime best, my works tend to aspire toward the classical Chinese ideal:

“A poem is a liquid verbal painting, a painting is a frozen visual poem.”     

A good day for me remains a day in which I draw or paint, and/or have a poem happen by whatever mysterious, sometimes cloud-wafted, sometimes sweat-&-blood soaked process such things concretize onto notebook/sketchbook leaf, canvas, &/or computer screen. If such painterly/poetical fruits, when shared for the possible nourishment of viewers & readers or listeners, happen to inspire in them such honesty as is required to “live outside the law,” law so darkly enforced by “mind-forged manacles,” then that is a very good day indeed. But mostly I write and paint simply because I write and paint, because the waters of life are wet, without much concern for who may see or hear such spring-fed, still damp artifacts of a life lived in the swim.

“Though the world be histrionical, and most men live ironically, yet be thou what thou singly art, and personate only thyself. Swim smoothly in the stream of thy nature, and live but one man.”                                                                                                    — Sir Thomas Browne (1605-1682)

stripes

headman

self-portrait as pleir air painter-pilgrim

 retail 2

tut

“My master said to me, ‘Hike ten thousand mountains. Search out strange peaks and make sketches of them.’

Shitao (Shih T’ao, 1642–1707), painter-poet, wandering hermit-monk & former outlaw rebel-prince.

pine

field stripes

detail, watercolor on paper ©

gold cup

bluff 2

desert landscape, oil on canvas (detail) plein air ©

helmet

Kachina Head Bluff   –  plein air sketch, enlarged  (wc/p)  ©

sparkle

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