Paintings by Neil Conrad



Don't sit on the edge of the table, I'm not sure all the legs are solid.  there's no shortage of symbols of surfeit in the neighborhood these days, certainly a six inch tree in a pot says a different thing than one the one 20 feet tall that was felled in a forest the other day.  can't deny being wowed by excess.  or trying to put on a huge spread myself,  ouch!


staying out of the way of the process, it happens every once in a while.  nothing really said it was completed until I looked at it later.  these first two pieces are separated by nearly a year.  I'm so going  backwards.  I could still put lines in the one on top but not the one beneath it.


some/most/few/all... the great equalizer.


the scale of this image is about one quarter of the original.  or if you're looking at this on your iPhone or Blackberry it's really much less that that.  Hard to say what's going to come across in that but I can say that I've painted this scene at least twice before and the mood is more playful here than in paintings of the past.


should this clown have some eyebrows?  they'd probably look painted on.


Stopped in front of Film Forum this evening and  watched some guy buying a ticket for a ballet movie.  Wide brimmed hat and tweedy topcoat, English shoes, he looked like he was out of a Robertson Davies novel. a nonconformist conforming to the dress code of the past as my friend so aptly put it.  at any rate, he did look Canadian.


Ladders and smoke.  recognizing how I've bought into a pattern of grandiosity and hype that crowds out even the possibility of honesty.


when there's really a separation and a synthesis, sometimes I want to see them both.


none of these photos have much in common with the originals.  the vibes are different.  takes some getting used to.