One-a-Day Paintings
Tom Ferguson
1983 - 1984
(most paintings 27 x 23")

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One, two...
To Get to First Base
The City or the country
View from the Schoolhouse
Chagall's Place
Feet on the Ground
Earth & Air
Warding Off Superstition
Holy Water
U Nork
Cherokee Country
Serious Fish
Lost But Making Good Time
Several Major Problems Plague the Patriarchy
Cat Having Jamais Vu
First Born
Conscious Indian
Hallow's Eve
Allergory of the Shower
Oscar das Kleinkind
Civilians and the Clouds
The Sometimes Sad Human
Going in Glory to the Kitchen

Also from the 1-a-day books:

& White Paintings
Double Helix
Eye Opener
Spinal Tug
Another Slot

More from 1-a-day books

Homosapian at the Fence
The Temporal Nature of Hound       Dogs
Parking Lot Q
The Is and the Ain't
48 Soldiers

  Reaching the end of my interest in the Word Paintngs I had been doing for two years I remembered one-a-day drawing books I kept from 1969 to 1974. After that period I still kept sketch books & journals but the 1-a-days were unwavering, one drawing a day,... brush my teeth, do my drawing (I kept a 1-page-a-day stream of consciousness writing journal for the same years). I would usually just set the pen point down somewhere on the paper, move it and see what happened,
where it went.
I dug out the books and found endless painting material there. I liked the fact
that these were to be paintings of drawings - not preparatory drawing then painting, paintings OF drawings... drawings were the subject. As with the word series; paintings of two dimensional objects.
It provided a revitalized structure for my continuing interest in impasto and smearing, scumbling, mixing effects. No doubt the then current neo-expressionist movement encouraged me in this.
There are two distinct ways of painting during this time neatly demonstrated by the front & back covers of the brochure accompanying a 1984-5 touring retrospective (see above right). The earlier paintings are characterized by heavy impasto, gooey mixing (referred to above), the later add scumbling to the equation producing a markedly different feel. This way of painting continued as the subject later shifted into other areas in 1985.

I was still living on savings from the near 4-year Cyclorama restoration project.
I did occasional drawings & odd jobs
but mostly focused on my art. I would enter competitive exhibitions these years, getting in about half the time, paying a fee and for shipping but filling the ol' resume. Cyndia entrepreneured a business documenting construction projects photographically which I helped out on. One of those was aerial, renting a helicopter once a month. We decided to get pregnant in 1985. Knowing that was going to be a commiment financially & time-wise, that was as late as I could talk Cyndia into delaying it. She would be mid-thirties, getting into that danger zone. I had assumed i'd not have children, never own a house etc; due to my "career" choice. Cyndia showed me otherwise.


1984-5 Georgia Touring
Retrospective Brochure

Artist Statement
& Peter Morrin Essay


Madison-Morgan Cultural Center
Macon Museum of Arts & Science, Macon
Chattahoochee Valley Art Association, LaGrange
Albany Museum of Art
Okefenokee Heritage Center, Waycross
Gertrude Herbert Memorial Institute of Art, Augusta
Creative Arts Guild, Dalton


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