Now that the semester has ended I’m making some finishing touches on a current painting that’s been on the easel for a while. It’s a part of a growing body of work centering on interrelationships of angle and shape. Click here to see that group of works – you can see the piece I’m finalizing below. It’s oil on panel, 24 inches in diameter… it’ll be in the final stages for a couple more weeks. I’ve got four other artworks in progress and am feeling more refreshed in the studio these days… feeling like I can instinctively pivot and shift. I’m hoping for a fruitful, evocative summer.
One of the paintings from this group, a work titled Resonators, will appear at First Street Gallery in NYC this June and July. Click here to see that painting. I’m pretty happy about it, particularly since the juror who chose the piece was Dore Ashton; it was an honor to have my work selected by her.
I’ve also been framing and staging things for my upcoming show at PS Gallery here in Columbia, MO. It’s been fun to coordinate that 20 piece show – I hope you’ll be able to come see it – click here for more info about it.
Finally (after about 2 years), I’ve updated my main website. I futzed with the colors and layout, and added some more work… Check it out here.
This weekend I printed and framed the last of the Lamentations 3 Series. I’ve talked about it before here, here, and here. It’s been a long journey: 20 months, lots of rocking on the mezzotint deck, the production of beautiful coppery glory, and a ton of revision. Tonight I pack them up for the trip to the Gordon College show. Here’s a preview of the last two, freshly finished (click for larger view… sorry, close up viewing is a little blurry; look for a super clear set of the whole 16 mezzotint series in a few months):
Lamentations 3, Verse 16
Lamentations 3, Verses 19-20
Ridderhof Martin Gallery
SHADES OF GRAY: Drawings in Graphite
January 21 – February 25
Thursday, January 20, 5-7 pm
Shades of Gray: Drawings in Graphite presents the work of seven artists from Missouri, New Jersey, New Mexico, New York, Ohio, and Washington, DC while exploring a variety of ways that graphite is used by contemporary artists.
In the past, graphite was relegated to use as a medium for preparatory studies that would later be reworked into more finished work in other media. However, due to a renewed interested in drawing among contemporary artists, it is no longer only a means to an end. The use of graphite provides a surprisingly common ground for the realization of each artist’s vision despite such diverse inspiration sources as architecture, contradiction, filtered memories, irony, isolation, obsession, phobias, scale, scientific inquiry, and social consciousness.
Above, one of the works I’ll have in the show, Established (Job 38, Strapped), graphite on paper , 2008, 16 inches in diameter.
A (detail of a) commission in graphite…
A (detail of a) commission in charcoal…
Continuing my Lamentations 3 series of mezzotints… Verse 4 is above (reversed to show how it’ll print).
And framing a drawing for friends; I created the drawing (in 2008) as an illustration for a poem.
My most recent completed work is an oil painting, 48 inches in diameter, titled Certainty. Because of the nature of the ideas involved in this piece, it was constructed in a manner that did not allow for an “up” orientation. I actually never painted it from the same picture-plane position twice. I frequently moved my model and altered my position of observation with each session.
The work has any number of “correct” reading orientations, but I’d like to settle on one or find a way to spin the work slowly so that many possible positions are presented to different viewers. Click the image below to see a large GIF of the piece. The GIF shows 14 different “stations” of the painting (give it a few minutes to load fully). What’s the best way to view it?
A lot going on these days.
The show I’m in at MANIFEST in Cincinnati has just released the catalog (cover below, click it to order one – it’s volume 43, bottom of the page).
Also, I’m included in a show at McNeese State University. Click here for more info. If you’re near Lake Charles, LA, go check it out!
I’ve got an article in the Columbia Daily Tribune up as well (and keep on the lookout over at Neoteric Art for my upcoming essay on Art and Subjectivity!). Click here to check out the Tribune piece. Below is one of the pieces I talk about (click it to see more about the image at the Brooklyn Museum):
I’m beginning a series of collographic prints based on the angles of the pentagonal sides of dodecahedrons. Here are images from the first few.
All are in a range from 6 to 12 inches in diameter. I’m conceiving of them as tondos or ovoids, but haven’t decided on the orientations or how I’ll use light with them, since it’s so important to how they’re seen.
None of these prints have pigment of any kind on them.
Click on each image for a larger view.
Well, I’m still moving forward on the Iconoclast painting. It’s now rounding the final corner and I’m feeling the tensions and densities that I was aiming for coming out. Above is a detail showing the working, building, statement and restatement across the structures of the head and upper body. Below is a full shot of the piece. I’ll add some statement regarding the reasons for the piece and what I’m aiming at with it once it has announced its completion… probably a couple weeks.
I’m included in a curated exhibition at Bridgewater State College in Bridgewater, MA. Click the image for a PDF of the announcement flier for the show.
I’ve got a post up over at Mid West Capacity on a recent painting show at the University of Richmond Museum…
and there’s been some coverage in the local paper of my new show at Perlow-Stevens Gallery. Cool.
In celebration of the show here’s a shot of one of the woodblocks used to make the Quintessence Series…