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The Cubist News

  Issue No. 1

Cubist Woman No. 29

Pictured to the above is a new installment in my Cubist Woman Series. It’s classic cubism with a little futurism thrown in for good measure. My view of futurism uses metalicised flesh. The chosen flesh tone blended with a dark tone on one side, and a light tone on the other. Applied at angles, then overlapping and wrapping the next form on top, and keeping my options open to cubisizing them with three-dimensional elements like simple 4 part box or cube shapes, achieved by line drafts over the area, finish by blending the sides on the edges. Focus on the edge of the line, touch them with a small brush or wadded cloth and just drag a little color to one side until it’s noticeable. Then try a light or white color on the other side of the darkened edge. Observe the contrast. The more you apply this technique, the more futuristic the whole painting becomes. 

In my mind I’m thinking about what portraiture, and figure painting in the future will look like….but I want to see it now.

Cubist Tree

I began a series of nature studies on 16 x 20 inch canvases. This is the one I enjoy the most of my nature studies. Earthy palette, and a brutalist tree in the center of the landscape demands to be seen.

Cubist Guitar

This is the sort of treatment I give when a musician is not playing. The musical instrument seems to beckon the musician to pick it up and start playing. It’s body morphs, and colors bleed in mock visual sound. Like an echo in an empty room. As if it has been put down or dropped, the audio reverberates inside the guitar and escapes into the emptiness, summoning a player.

THE CUBIST

“When I paint figures, I want to see all the parts. I want to look and see how everything connects to itself as well as look through it and see the space it occupies in the room, what lies behind it, below and above.”             

-E.A.WILLIAMS

Urban Blue

“I enjoy urban themes in my art. Each work is like the square of a quilt that forms yet another window looking out into the city.”

 

-E.A.WILLIAMS

This is a study in Acrylic washes of an Atlantic City streetwalker.

Atlantic and Pacific Avenue across the street near a white colored motel.

The technique is a blend of realistic flesh tones and impressionist application. The Blue Lace was stretched so tight on the skin it appeared to be tattooed onto her form. Her hot thighs faintly smacked as she hustled up and down the street. The chilly night air turning her body-heat to a steamy haze. A halo of sexual energy emanated from her.

I quickly drafted her as she stood still for a minute or two. I focused mainly on the streetlight shimmering on her doll-like face and hourglass shape. Her hair was woolly and reddish . Her coloring changing from a raw chicken flesh tone to white-hot sex-pot tones of orange and pinkish-white jiggly thighs.

-E. A. WILLIAMS

STREET STUFF

Abstract torsos vie for attention as they wiggle, jiggle, giggle and battle to be corner-queen and hook the next spectator, then turn him to trick. Brunette versus Blonde Bombshell bump bodies at the hips to stagger the competition out of their spot. Ample, rounded, unpantied bottoms flash and glimpses of heaven thrill as the evening carries on. The brisk air scares up a pale trick with time to kill and bucks to burn. The Blonde Bombshell wins and hops into a Cowboy’s truck and is off to…sin.

-E. A. WILLIAMS

DOWNTOWN

The backdrop is a portrait of urban decay, weaved with the players of the evening stepping into the frame of this work. In play, the roving eyes of cheating husbands, the power-wielding executives who are in need of constant submissives in order to pacify their massive egos. The easily vamped sex-starved loser. The modern day sex slave, in too deep to realize female empowerment means that you can’t be in control of your sexuality and be a prostitute. Your pimp owns it, your Johns lease it.  The fabric of the city wraps them all in a tapestry of woven seedy desperation. The urban knit-wits are forever running on a treadmill going nowhere fast, downtown.

-E. A. WILLIAMS

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Washington DC

Washington DC

The painter attended The Corcoran School of Art in the early 1980’s.  After securing a place in a Group Exhibition at The Mayor’s Gallery at City Hall. “Spirits: The Makings of Masters”. He was 19. Later he would be awarded for his freshman studio work at the school. His interest in cubism and motion studies initially drew ire from some teachers. But the sketchbooks of his nightly scenes depicting DC streetwalkers and strippers were passed around the room before every class. Spectators observing him work in the street occasionally bought his books from him for hundreds of dollars on the street.

 

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Visual Sound

Jazz Prints

Limited Edition Print By Emmett Ardie Williams.

“Visual Sound” is a kaleidoscope of jazz imagery. Here, Emmett Ardie Williams uses the swirling color and movement he’s popularized in musical imagery that has been collected by art and jazz lovers for years. This print is easily one of his most beautiful pieces to date.    Emmett Ardie Williams is best known for his murals and paintings in Jazz Clubs in Washington, DC and North Carolina. His jazz concepts are often imitated but never surpassed. His Visual Sound concepts adorn custom made furniture from Hickory, North Carolina to Scottsdale, Arizona. His hand-painted themes and murals have appeared at The High Point Furniture Show consecutively for a decade. His jazz imagery, including “Blues Guitarist”, “The Bass Player”, and “Hands of a Jazz Piano Player”, have been featured on television, in art publications, and in newspapers such as the Afro-American (Washington, DC), the Carolina Peacemaker , and the Greensboro News & Record (North Carolina).

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