In 2006 I went to Fresco School in LA. It was a wonderful weekend. I stayed in a hotel in Venice Beach and commuted to school. School wasn’t far, either. School was in one of Howard Hughes’ Hangars in what was once an airfield (and if I’m lucky I’ll remember the name of it…).
It had been — and remains! — a dream to paint buon fresco — that’s painting onto wet plaster. My teacher was from Russia — Ilia Anossov — and while I give him a “C” as an instructor, I give him an A+ as a person and fresco enthusiast. He gets a C because he took my brush out of my hand and finished my fresco for me (grrrrrrrrrrrrrr). Still, I really like the guy and loved the class. I even understand his impulse. He is a big-hearted guy and he didn’t want me to fail. Sometimes it’s hard to believe a student is OK with failing, and I was.
Class was two long days over St. Patrick’s Day. My hotel room was really a small apartment with a kitchen. When I arrived the first afternoon a random bum-like homeless guy at the parking lot said he’d watch my car for me. I don’t know what his story was but he was splendid and possibly he did watch my car. Strangely, he didn’t want any money. There are a lot of mysterious interactions in our world and at this point I’m half-way convinced that some of them are not with humans but with some other kind of human-like form of something. That guy was one of them.
So…on my way home from my first class I stopped at a supermarket to get something for dinner. I’d completely forgotten it was St. Patrick’s day wrapped up as I was in the magic and wonder of painting fresco. As I stood in line, waiting my turn, I felt a sharp pinch on my arm. “Huh?”
I turned around. An older woman with gray hair under a headscarf was grinning at me. “Sure you’re Irish,” she asked with a lilt in her voice. “Where’s your green? Don’t tell me your underwear. I haven’t believed that since elementary school.”
I cracked up. I admitted to being Irish and apologized for my lack of awareness over what day it was. We chatted.
I bought some gross food I cooked in a skillet in my apartment and went to bed. During the night, I heard intriguing sounds coming from upstairs and felt surprised at the nature of my hotel.
Before class even began we had to do two sketches, a value drawing and a color sketch because, when the plaster is ready, the artist needs to know exactly what he/she is doing. There is a small window of opportunity to paint. It’s a real “carpe diem” thing with plaster.

We painted our frescoes on the back of 14 x 14 inch tiles — a perfect surface. All of it was wonderful to me. My fresco turned out badly, though there are worse out there. My teacher painted the two top apples, and they don’t’ look like apples to me. OH well… To my eye, the best part is about three square inches in one corner, the wicker chair. Luckily it broke a month or so later so I have never had to move it or look at it. (Featured photo)
I love the medium, but it’s complicated and expensive and needs a lot of space. The most wonderful moment was when Ilia showed us an old coffee can filled with dry pigment for ultramarine blue. The pigment was left over from the Depression when so many fresco murals were commissioned by WPA for public buildings. I got to grind that paint and use it. That was the best part of everything.

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