Works on Paper 2024-2010 Gallery Two

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Drawing vs Painting: Preliminary sketches are one way to think about drawing. However, given the mixed media possibilities, stand-alone drawings can be as rich and varied as any artist’s imagination to exploit the medium.

Pictorial space is more likely sacrificed in my drawings. No doubt due to my love of assemblage. The artist working on paper feels less inhibited in dissecting and embellishing objects in novel ways. Drawing is to painting what chamber music is to the symphony: Away from creating war horses and other monumentally significant work, the intimate mood that surrounds a pencil and piece of paper is liberating. Often in these settings one finds an artist’s most daring ideas.

Click images to enlarge. Contact me at: teaguemichael5858@gmail.com for purchase information on individual artworks.

Fugue State Steak Fries (12" x 12.5" graphite and white charcoal on toned paper) nfs

Fugue State Steak Fries

Loose Molars and Bicuspids (12" x 12" graphite and white charcoal on toned paper)

Loose Molars and Bicuspids

Loose Molars and Bicuspids (detail)

Dipole of Indecision (11" x 14" graphite and white charcoal on toned paper)

Dipole of Indecision

Dipole of Indecision (8" x 8.5" mixed media on paper)

Foiled Chocolat

Double Felix (11" x 14" graphite and color pencil on paper)

Double Felix

The Austere Premise (9" x 12" mixed media on paper)

The Austere Premise

Angiotensin (8.5" x 14" graphite and color pencil on paper)

Angiotensin

Dattchi Waifu (9" x 12" mixed media on paper)

Dattchi Waifu

Cast Iron Manifold (11" x 14" mixed media on paper)

Cast Iron Manifold

The Scale of Markmaking: My drawings are denser in detail than my paintings due to the scalability of the mark. Watercolor, pencils, ink, and markers offer little inertia where the brush, nib, etc. makes contact with its substrate. Only pigment suspended in a thin fluid is involved. Little residue spreads outward around the mark, which would prohibit scales of the finest gradation. Alcohol-based markers are a special case, although their bleeding is mostly limited to the backside of some drawing papers.

Oil painting is incapable of tiny marks unless the medium is thinned with a solvent, or one uses a ‘fine-detail’ medium or refined linseed oil. Here one imitates watercolor or airbrushed acrylic by applying thin or transparent color. My preference of oil to watercolor lies in its irreducible dimension: Oil paint does not merely reproduce an object faithfully, it recreates it as a tactile surface which extends outward from the canvas toward the careful viewer.

Modular Immodesty (9" x 12" mixed media on paper)