Video & Interview with Musician, Public Speaking

I’m excited to share with you my latest video, which along with my art, features a song I commissioned by my friend and previous MoMA coworker Jason Anthony Harris. Jason makes music under the moniker Public Speaking and has toured across the US, been featured on the Bandcamp Weekly, The Needle Drop, and his album “Within Patterns” was listed as a Top Ten Experimental Album by A Closer Listen. The following is an email exchange I had with Jason about our video Color Walk, making art, and finding connection during a time of social isolation.

Alex: Thanks so much for the amazing song Jason! It’s perfect! I was inspired to reach out to you after reading one of your thoughtful social media posts about the importance of supporting bands during this time when there are no live concerts. I took a look at your Patreon where I was surprised to learn that anyone can commission you to write a personalized song! I immediately thought of how fun it would be to commission you to write a song that I could use to accompany a video of my paintings. Have you done any other song commissions? It’s such a great idea.

Jason: I started a Patreon in late September of last year with a member benefit of a personalized song. The listener fills out a brief questionnaire, and I write and record a song based on their life and whatever they might be going through. Some of the songs are light and playful, some are meant to empower people who are struggling, and others are more intimate dives into people's lives. Writing songs for other people is a completely new experience for me. I usually write music that draws heavily from history and literature, occasionally writing more personal pieces about my own life and experiences. Somehow, I've written nearly thirty personalized songs since launching this project, and the commissions keep coming. I've grown so much as a songwriter in that short period of time, and I've learned that making very specific art for an audience of one can be a rich, engaging process. I know that writing all these songs for other people has unalterably changed me as a musician. I also feel more open and confident in sharing and gifting my work.

Public Speaking

Alex: I can relate, commissions have been helpful in my growth as an artist as well. Can you share a little about your process in writing and recording your song for me? What you were thinking about? What instruments did you use?

Jason: I was predominantly concerned with your aesthetic and the world of your paintings. I think your pictures have a great sense of calm and warmth. I wanted to put the listener inside that feeling, without distracting from it too much. I used some field recordings from an archivist at Yosemite National Park. I juxtaposed a soundscape of birds singing in the daytime with some nighttime lake sounds to give the piece a subtle, otherworldly, timeless quality. I also used the rhythmic sounds of chopping firewood, an electronic kick drum, and many layers of what sounds like synth but is actually effect-heavy guitar.

Public Speaking|Photo by Chester Hawkins

Alex: My hope was that this video might inspire others to get out, even if it’s a small walk around the block, and find a little solace with whatever nature can be found this time of year. Getting outside has definitely helped me a lot with my cabin fever and social isolation. Have you been able to get into nature at all? How have you been maintaining on a personal level?

Jason: I live in a small apartment with my wife and cat in Brooklyn, and I take daily walks and runs around our neighborhood to fight the feeling of isolation. I also meet up with friends one-on-one in the park every now and then, and I sat on my roof almost every day before the temperature dropped too low and the wind became too strong. I've been fortunate to take a couple of short trips upstate over the past few months to do a little hiking and feel closer to nature. On these trips we've been careful to stay very secluded and safe. They've definitely helped us stay sane during the pandemic.

Jason composing in his Brooklyn apartment

“I have never regretted trying, but I almost always regret giving up, limiting, or diminishing myself. It’s taken me a lifetime to feel the agency to speak up and advocate for what I believe in.”

— Jason Anthony Harris

Alex: One of the highlights of the year for me was hearing a song of yours on the podcast How Did This Get Made? Have there been any silver linings for you creatively in the past year? Or as a musician do you feel like your creative life has just been on hold?

Jason: Happily, I've been more productive than ever. I'm sort of a workaholic when it comes to my music, and this time has given me so much space to explore and create - and also to reach out to other people and take more risks. I'm a recent convert to the philosophy of continually trying to make contact with (and make an impact on) others through my work, and of giving of oneself as much as possible. I have never regretted trying, but I almost always regret giving up, limiting, or diminishing myself. It's taken me a lifetime to feel the agency to speak up and advocate for what I believe in (not to mention, for my own art), instead of convincing myself that my contribution does not matter. What I do is not for everyone, but I know that I have been able to touch some people. I want to continue to show up for the ears that may want to listen. Besides, I've designed my whole life around making music, and creating is how I build meaning and keep myself from falling into despair.

Alex: Making art is definitely something I need to do to keep myself emotionally buoyant as well. Lastly, any plans, hopes or dreams for the rest of the year?

Jason: I find it almost impossible to make plans yet. It all depends on the vaccine rollout, which unfortunately does not seem to be going very well. I'd like to continue to build my Patreon following, and I have a loose goal of finishing 100 personalized songs by the end of this year. I have two upcoming albums for 2021, but the release dates have not been finalized yet. I'd love to play live again and to do some touring (especially in Europe), but who knows if that will be possible this year. I may have to wait until 2022! Thank you so much, Alex. I'm happy to provide music for your beautiful artwork, and I look forward to seeing it, and you, in person when the plague subsides.

Alex: Thanks Jason!

You can listen to and find out more about Public Speaking here:

Bandcamp
Tumblr
Facebook
Patreon.com

You can also find Public Speaking on streaming services: Spotify, AppleMusic and the like.

What Makes A Good Painting

My goal in painting is to make something that feels fun, fresh and alive. My paintings should never feel like “work” when I’m making them. In order to have fun while painting, I rely on a few key compositional techniques that increase my chances of making an effective piece, because it’s no fun to make bad art.

Here are four things I consider each time I begin composing a landscape painting:

Gesture

When I plan a painting the first thing I look for is a compelling gesture. For me the gesture is the most important aspect of the image as it leads the eye and defines the main shapes of the composition. A gesture in a painting works in the same way that a plot works in a story. The gesture leads the viewer’s eye through the artwork, creating alternating sensations of tension and release.

Here are a few of my paintings alongside sketches that show the gestures in yellow, as well as the negative spaces in blue:

The gesture in this painting starts with a high level of tension as the tree rises from the dramatically lit earth, creating a sense of release as the branches thin out and give rise to the soft dark green leaves across the top of the painting.

The outside edges of the image have a sense of openness and then closes in as the lines from the path, horizon and trees all come crashing together into one single point. The tension is then released with the open sky and clouds.

This painting of Georgia O’Keeffe’s home and studio starts with a sense of tension because most of the view is blocked by a large wall in the foreground. A sense of release comes partially from the black window but mostly from the ladder which cuts vertically across the horizontal lines of the wall and gives an emotional sense of release by drawing the eye up the ladder and to the open sky.

Similar to the painting above, this image starts with a high level of tension by making the lake appear as if it were a wall in the immediate foreground. The simple, softer gesture of the clouds offers contrast to the flat depiction of the water. A dramatic sense of release comes from the simple gesture of the boat’s mast crossing the line of the horizon, connecting the ocean with the sky above.

Rule of Thirds

I frequently compose my paintings using the rule of thirds or occasionally the golden rectangle. The rule of thirds says that images look best when important parts of the composition are a third of the way from the top, bottom or side of the image. I often use this rule to determine where the horizon begins - either a third of the way up from the bottom or a third of the way down. The rule of thirds can be helpful to avoid creating stagnant compositions where exactly half the image is sky and half the image is the earth. The rule is of course just a guideline.

Color Schemes

Color wheel

Basing a painting on two complimentary colors (colors opposite each other on the color wheel) is a great way to create visual tension in a painting. Complimentary colors create both contrast and balance. Here are the three main options:

• Orange & blue

• Red & green

• Purple & yellow

Of course most paintings require more than two colors so once I have covered my painting predominantly with my main two complimentary colors, I will then add another one or two additional pairs of complimentary colors to the painting to provide highlights and create further depth.

Here are some examples:

Primary color scheme: green mountains with red roofs. Secondary scheme: blue sky and orange clouds

Primary color scheme: blue background, orange trees. Secondary scheme: yellow trees and purple grass. Tertiary scheme: red trees and green grass

Primary scheme: blue sky and orange factory wall. Secondary scheme: green grass and red sign and red train tracks. Tertiary scheme: yellow windows and purple grass

Lighting

I’ve recently been focusing on adding interesting lighting in my works, but it’s not always easy to achieve. Lighting is the key to a great painting, you can have a good gesture and some skill, but without strong lighting the painting will usually lack feeling. Interesting lighting doesn’t have to be bright or extreme, it just has to be dramatic or visible to some degree. Here are some examples of paintings I made that show my attempt to include lighting as a key component to the work.

Although these techniques help me, I don’t believe there are hard and fast rules when it comes to painting. These are just some of the few techniques that help me feel more creative while painting.

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Available Paintings

Sculpture Paintings

Constantin Brancusi’s “Mlle Pogany” (8 x 6 inches)

$175.00