Inked Typewriter #2


A Competition Entry:

2018 Artist’s Statement

The tools chosen to create art are often as revealing as the task that is attempted. I use watercolors, ink, and pigment for my paintings on cotton paper because it is a collaboration with the materials rather than attempting absolute control over the medium. I direct, guide, and collaborate with the pigment to express what I wish – but in the end the materials themselves are what are left to speak. The place you create has a great influence on the work that is produced; it influences the work and is a key part of the equation. The artist is part of the filter through which a moment in time and place is woven into a canvas. Whether the canvas is a linen cotton in a typewriter or watercolors. The Austin, Texas topography has a great influence on the work that I produce. I see the land around Austin as a living being that is part of an evolving system that we inhabit. The physical form of the land influences us every day and the topography effects how we think about this place.

The artist is a filter through which the time and place must pass to get to the canvas. The artist reacts to an environment carrying with him or her a set of previous experiences that affect the outcome of the final pieces. In situ or plein air painting puts the artist near the source of the inspiration where the sounds, smells, weather, and light all come together to work their ways into the creative works.

Artists often avoid explaining their work by writing about it in order to let the work speak for itself and the viewer bring their own histories into the work. I feel that the more I can offer the viewer – the more the viewer can relate to my work. I use the new writing technology of the word processor, but I feel writing with typewriters gives a different connection to myself, my thoughts, and my environment. Typewriters offer a slow thinking rather than a fast thinking. Creating work and then responding to that work with new renditions allows for a continuous conversation over time. Moving between different mediums allows for the different canvases to influence each other and interweave – directly and indirectly. My writings influence my paintings, and my paintings influence my writings. Multiplicity allows for the work to evolve. Creating multiple pieces over time allows for a conversation between the artist and the canvas – whether the canvas is cotton watercolor paper or cotton linen paper that is typed.

I collect and use manual typewriters to create many of my writings. I see the typewriters as direct collaborators with my work. The typewriters I use are often between 70-100 years old and are as integral to the work as a brush is to a painting. The typewriters each have their idiosyncrasies that contribute to how I approach the machine and how I think about writing. Some of the typewriters force me to focus more on the hand and the mind more that my word processor does. I do not tend to correct the typewritten work. If a typewriter glitches, I use a wrong word, or a hiccup goes onto the paper – It stays there and is recorded as part of the thought process and marks time. The typewritten word is pigment stamped onto the paper and has an individual character much like a watercolor. The hands meeting the keys influence a pressure and a rhythm that is directly seen and translated to the paper.

I started the group Austin Typewriter, Ink. to gather typewriter enthusiasts and collectors so we could share our love of all things typewriter. We presented around 20 antique typewriters at the Austin Maker Faire this year to introduce and encourage others with using, collecting, and working with typewriters. We so often as a society tell kids to “not touch” – we encourage touching and using. There were around 3000 kids who were very excited about typewriters and several are now looking to locate their own, so they can write as well.

Everett_E_Henderson_Jr_01Slaughter Creek Bike Trail 3: May 7, 2017; Watercolor, ink & pigment on 9×12 100% cotton Aquarelle Arches

Everett_E_Henderson_Jr_02Zilker Park; August 26, 2017: Watercolor, ink & pigment on 9×12 100% cotton Aquarelle Arches

Everett_E_Henderson_Jr_03Slaughter Creek Bike Trail 1: May 7, 2017; Watercolor, ink & pigment on 9×12 100% cotton Aquarelle Arches

Everett_E_Henderson_Jr_04Barton Creek 1: May 28, 2017; Watercolor, ink & pigment on 9×12 100% cotton Aquarelle Arches

Everett_E_Henderson_Jr_05Barton Creek 2: May 28, 2017; Watercolor, ink & pigment on 9×12 100% cotton Aquarelle Arches

Everett_E_Henderson_Jr_06Slaughter Creek Bike Trail 2; May 7, 2017: Watercolor, ink & pigment on 9×12 100% cotton Aquarelle Arches

Everett_E_Henderson_Jr_07Convict Hill Bike Trail: June 17, 2017; Watercolor, ink & pigment on 9×12 100% cotton Aquarelle Arches

Everett_E_Henderson_Jr_08South Austin: A Picture and a Poem: November 24, 2017, Watercolor, ink. colored pencil & pigment on 5 1/2×8 1/2 100% cotton linen paper:

Landscape Image as Metaphor

The Place


On Remembering Place: typed on a 1923 Remington Portable

On Creating: typed on a 1917 Corona Portable Folding typewriter

To Think Slow: typed on a 1940 Erika M typewriter



Weaving: typed on a 1921 Erika 5



“Trail” was accepted into a works on paper show in Maryland.

Picture and a Poem

Whiskey Painter’s Palette 

Indian Yellow, Cadmium Orange, Quinacridone Gold, Alizarin, Cadmium Yellow, Manganese Blue, French ultramarine, Indigo

I believe “making the tool to make the thing” applies to the selection of the tools as well as the palette. The selection of the colors in a palette can be as important as what is painted.

Limiting a palette forces one to ask questions about choices. 

Creek Bed