Perry Brooks Nichols

“Aguas Piedras” - woodcut on rice paper - 7” x 8-1/2” - 2002. Since the Epson v600 scanner was set up for chronicling pictures of my dad, I figured I would also scan some works on paper which were in my flat files and frame them. This little print was made as part of a series of 3 woodcuts from my transformational SMU-In-Taos experience in the summer of 2002. I would hike a few miles to a beautiful stream up in the Sangre De Christos by the Fort Burgwin Campus, sit and render the currents, eddies and light reflected on the rocks into carved chisel marks on a blackened wood plank. I thought this one ended up looking a bit like a sheep dog, or as my mom said “Snuffalufagus” lol. I had signed this one back in my school days, but felt like adding my monogram signature to it as well, then I framed it into a 11”x15” frame using some small Lineco Archival corners. I scanned it both in 16 bit grayscale and 48-bit color to compare the differences in detail and depth.

Two weeks ago, I lost the best father a son could have, Christopher Perry Nichols (1938-2026). He was a friend, collaborator, and inspiration to many in the Dallas community as a teacher, theatre director, writer and playwright. I scanned this series of portraits of my father (and family) in roughly chronological order spanning from his childhood, his public school teaching years, his New Arts days, and visits to England and his brother’s land in Taos in the 90’s.

In today's studio news, I blended some shavings from my pigment sticks with some English Distilled Turpentine to lay in the 1st stages of the cameo for an abstract/color field version of the portrait of my father from his New Arts days. I'm reusing an old canvas from my college days that was an experimental abstract as well, so there's plenty of pentimento.

It was the coldest night I remember this late in April, but the flowers are still in bloomin. Inspiring colors this sunset.

I found a framing solution for one my father’s favorite oil paintings, “Old Red Trinity View” from my 2007 art show “Urban Impressions.” The glass in this picture frame had broken a long time ago, so I took a sheet of brick red pastel paper and taped it to the Masonite backing and then used a set of 3” Lineco Archival corners to float the 1/4 sheet of 400lb rough w/c paper on the surface. Normally, I would like for a painting like this to be in a shadowbox frame so the oil paint is behind glass, but this solution serves as a proof of concept that this shade really makes the brilliant red details in the image pop. There are also some detail photos to reveal the vigorous brushwork: scumbling, dragging, wet-in-wet, veils, sgraffito and impasto. While I tried to get very detailed in this series of urban “landscapes,” it was a goal to walk the line between tightness/looseness and perception/impression.

Things are gradually gearing up in the garage studio. I found these two oil paintings on paper from my 2002 Smu-in-Taos classes with Stephen Wilder deep in the flat files. I brushed the dust off with a little water, next step sign them and frame them.

Just a week ago my father, Christopher Perry Nichols, departed the terrestrial plane for a more peaceful abode. This portrait always hung in his study and haunted the dreams of my youth, much as I imagine Leopold Mozart mantled over his son Wolfgang’s mind. This stern, fierce, and focused visage was completely different from the warm-hearted, generous, and effusive dad I loved and knew, but I’m sure that many experienced this tempestuous side while he was stirring up the black boxes and boards of the Dallas theatre world during the 70s and 80s. This pic was taken by John E. Hall of the Dallas Times Herald at the height of his powers roosting over the New Arts Theatre Co.

In memoriam of my father, Christopher Perry Nichols (7/24/1938 - 4/7/2026), I’m sharing a pair of portraits from the family’s art collection: “Christopher” by his mother, (Mary) Nell Brooks Nichols, oil on board & a pastel portrait of him as a young man by his father’s student, Larry Van Haren. Dad was a “Prince of the Planks” i.e. theatre director & impresario of the New Arts Theatre Company (not to be confused with “New Fine Arts” lol, his theatre Co. was among the first businesses in the Dallas West End district), author, award winning playwright, & teacher. It was an honor to grow up w/ his magnetic charisma basking in the brilliant light which inspired & nourished generations of actors, artists, & writers. Now he has merged in the embrace of infinity floating as light as a feather free of the shackles of this mortal coil along w/ his brothers, father & mother who he loved so dearly.

The Oil Painter Has Risen! I've successfully gotten a functional painting studio flowing in my garage. First, I have to organize my flat files of older works, Pegasus paintings on paper shown. Also a view of the lovely Easter sunset from my favorite meditation spot.

“Meta-Colia” (v2) from the “Epsteen Comix” series by the “Artist FKA R. Creem.” Felt like today was a good day to share this Img2Img creation inspired by the greatest graphic master of all time, Albrecht Dürer. A little funny, a lil true. We may feel alone at times, but we’re experiencing this dodecahedral Zuckerract together, fellow Meta-colics! Paz y amor. :)

Portrait of Christopher Nichols & Jodi Lawrence - front & verso - graphite & conte crayon by Mary Nell Brooks Nichols (1912-1975). My grandmother, Mary Nell, was a talented portraitist as well as a graphic designer. In this double-sided portrait of my father & 2nd cousin, her masterful skills of observation are on full display.

"VI/XV, Artist's Proof," aquatint sugar lift etching by Zanne Hochberg, 1992. Once again I'm celebrating my earliest artistic mentor for Women's History Month. This piece showcases her mastery of gestural strokes, composition, space and figural abstraction. I was lucky enough to share the same printmaking teacher, Larry Scholder, years later.