graphite on Arches hot press 40” x 22”
Graphite on acid free illustration board 5” x 7” SOLD
“Solitaire” Graphite on Bristol paper 18” x 9”
A walk in the woods: winter—the land is silent, stripped down and pure. I am awed by the sheer impact of unsentimental patterns bent and broken, intrigued by the complex quality of fallen trees. Their manic lines and texture speak to a powerful natural abstraction. The very act of drawing every branch, twig, highlight, and shadow, rendering textures from the extreme winter skins to the silkiness of new-fallen snow, transforms the scene into an intimate journey. This undertaking is considerably different than merely taking a photo or simply being there. The drawing process immersed me for hundreds of hours, interpreting and translating what I saw and felt from hundreds of reference photos, collected branches, twigs, and revisits to the site. Each drawing is a journey of discovery and understanding. Simultaneously, it is a conscious construction of the most complex compositions and details: a simple “Walk in the Woods” and its artistic aftermath. (Available)
(Available)
SOLD
Graphite, 40" x 30", 2011
In the area where I live there is a flood plain, every spring these trees are by and large underwater. I came upon this place when the waters receded- I was blown away by the complex movements of line; limbs, branches, twigs and brambles that seemed to be hanging on for dear life. Because it was this complex I had to draw it, the composition was inspired by one of my heroes Franz Kline, often abstraction is the catalyst to my compositions.
Winter Lines, Graphite on Arches Watercolor paper, 30” x 40” SOLD
Graphite, 45” x 85” 2012, SOLD
The day after the blizzard of 2011 I walked the stillness of the wood following a night of howling wind, and creaking, snapping trees. The land once again silent and unusually pure, I was in awe by the sheer impact of the storm. Intrigued by the abstract quality of the fallen trees, their subtle lines and texture it became a feast for the eye. At that moment, I knew I had to draw this setting. Although I was not prepared for the 1800 hours it took to draw this, in the end the journey was without equal in its magnitude and new found reverence for the power of nature.
(Available)
“Simplicity of Silence” at the Grand Rapids Art Museum
graphite, 16 " x 20" 2013, SOLD
the first drawing i ever did that was inspired by an iPhone photo, trees and what were once trees stilled in a frozan winter outside my studio
Pencil on Arches Hot Press Watercolor Paper 24” x 30”
A lone tree standing in its winter nakedness, keeping vigil
The complexity of this form was amazing the overlapping of branches, the rhythm and composition drew me to this lone tree. Void of background gives power to negative space brings simplicity to this very complicated form.
Pencil on paper 10" x 10" SOLD
Graphite 10 " x 10" SOLD
SOLD
pepper Graphite 9” x 9” $1200
pepper Graphite 18 ' x 18" framed) $1200
Onion 18 ' x 18" framed) SOLD
Onion Graphite 9" x 9" SOLD
graphite, 40" x 28" SOLD
graphite, 15" x 22", 2003, SOLD
Graphite, 15" x 22" 2004, SOLD
Graphite, 22" x 22", 2010 SOLD
Graphite, 22" x 30" 2005, SOLD
graphite, 15" x 22", 2001, SOLD
graphite, 15" x 22", 2001, SOLD
graphite, 15" x 22", 2002, SOLD
These drawing have a substantial narrative, both universal and personal. My visions will and should differ from the viewers. For the artist success comes when your imagination gets activated - in my mind this then completes the circle of creativity, a partnership between artist and viewer.
Graphite, 20" x 30" 2005, SOLD
graphite, 32" x 40", 2007, SOLD
Graphite, 32" x 40", 2006, SOLD
Graphite, 20" x 40", 2007, SOLD
graphite, 20" x 40", 2006,
graphite, 32" x 40", 2007
graphite, 20' x 32", 2005, SOLD
I marvel at aging skin and the breadth of textures within the human face that gives a hint of a life lived. The clarity and structure of the Iris and the multitude of imperfection on the human face continues to be a challenge, especially at this scale. My goal as a realist is to understand complexities and details; my interest is how the human eyes perceives not how a camera sees, I transform not just translate what I am observing. I look at small particulars of a person that cannot be seen or deciphered by the cameras, I delete, enhance, elaborate, exaggerate, alter and reinvent, and I do this by filtering this vision through my own psyche. When I complete the work, I develop an understanding of the subject that's both universal and deeply personal.
graphite, 12" x 12", 2011, SOLD
graphite, 18" x 18", 2013
graphite, 18" x 36", 2013
graphite, 18' x 18", 2013 SOLD
(my sons Ean Mersmann's eye at 14)
Eye of Carl Pitsch
My eye
Eye of Fritz Mersmann
graphite, 9" x 9", 2009, SOLD
graphite on acid free illustration board, 20” x 20” available
Graphite on Fabriano paper, 17” x 30” SOLD
graphite 28 x 18 (Available)
graphite 40" x 50" (Available)
graphite 30" x 20" (Available)
graphite on paper, 5” x 7” SOLD
graphite, 19" x 30" 2005, SOLD
This started as a demo for a class but I got very involved in it and completed it, drawing on Claybord is completely different then paper I like the depth it gives although it very very slow. SOLD
graphite, 26" x 11" 2011 SOLD
graphite, 8" x 8" 2004, SOLD
graphite, 8" x 16" 2004, SOLD
Graphite 4" x 4" on Claybord SOLD
graphite, 8" x 8" 2004, SOLD
graphite, 39" x 19", 2008, SOLD
graphite, 22" x 30" 2006 SOLD
An emphasis on composition and texture, Iron Skins is a series of four 10" x 10” and one 14" x 20" drawings originating from small passages of an old diesel engine that sat for thirty years to rust, collect dirt, debris, and deteriorate. The outcome has more in common with abstraction-although very meticulously and realistically drawn in pencil. The uncommon subject matter challenges the viewer on the core meaning of beauty.
Graphite 12” x 12” (Available)
Graphite 20” x 14”(Available)
Graphite 12” x 12” (Available)
Graphite 12” x 12” (Available)
Graphite 12” x 12” (Available)
Graphite, 30" x 40" 2005
Graphite, 30" X 40" 2005
Graphite, 30" x 40" 2008
Graphite, 30" x 40" 2007, SOLD
Graphite, 30" x 40" 2009,
Graphite, 30' x 40" 1989, SOLD
All for the love of abstraction
Graphite, 10" x 10", 2004, SOLD
Graphite, 10" x 10", 2004, SOLD
Graphite, 10" x 10", 2004, SOLD
Graphite, 18" x 8", 2004, SOLD
Artist Statement
Drawing gives me the opportunity to truly see. As an artist, I do not casually observe my surroundings nor take them for granted, but rather view the world as a creator and architect of my own artistic vision. I have never been interested in simplification-on the contrary it’s the complexities and how we see them that drives me to spend countless hours on a drawing. The fundamental design and the placement of object are due more to my love of abstraction, then a pleasant place or relic. This act of drawing enables me to gain insight and understanding of intricate structure, whether it is a rusted engine block, human figure, face, an isolated eye or a tempest of trees. Drawing pushes me to examine every aspect of what I see – every pit or scratch, the wonderful nature of rust, or every twig and branch. I become immersed in my observational skills and depict my vision in a way that a casual observer could not.
Once a drawing is complete, it is no longer related merely to the artist, but becomes a starting point for the viewer’s feelings and imagination. This alignment hopefully transcends the ordinary and the overlooked to something approaching the metaphysical and sublime. Photo-realism itself does not interest me in the least; realism does, details and textures do, ultimately seeing what others fail to see, until they see it in my work. When this is achieved, the collaborative relationship between the artist and viewer reaches its climax. Ultimately, and interestingly, the climax is a humble interpretation of the greatness of nature.
“A good “rendering” represents what a person sees, but “a work of art” illuminates what others do not.”
