…is the loving, gracious, passionate, powerful, intelligent, precise woman I’ve been with for nearly 20 years. Thank you for making me a Dad, Alison ❤️
…is the loving, gracious, passionate, powerful, intelligent, precise woman I’ve been with for nearly 20 years. Thank you for making me a Dad, Alison ❤️
Chris Hall – Thrustmasters. Oil on panel, 7×10 inches, 2012.
Chris Hall is a great guy. He’s a solid dude. He’s easy to get along with, to talk about Dune with, to consider the pros and cons of kayfabe with, and to think about art with. Back in 2011 Chris came into the MFA program at Mizzou and quickly stood out. Not only was he a good painter with interesting ideas, he was also willing to let his assumptions go to grow. His thesis work was among the strangest and most unique I’ve had the privilege to see. Check out his ongoing work at his website.
Chris has the unique ability to draw out both mirth and serious, intense thought in those around him. I’ve loved partying with him over the years, and I look forward to more fun in the future.
Above: Chris as Nosferatu and me as Igor in a drawing I made… this is how we party, people. Ballou digital drawing, 2017.
I have two artworks from Chris in my home. The first, Thrustmasters, is at the top of this post. And here is an untitled fridge interior from around the same time – 2012 or 2013, just as Chris was moving into his Thesis work.
Chris Hall- Untitled Fridge Interior (Vampiric Food). Oil on panel, 7×10.5 inches, 2013.
Chris is one of my favorite subjects for illustration (I’ve drawn caricatures of my friends, family, and students for many years). Not to be outdone, Chris had me pose for a number of his paintings early on, and those sessions are some of my favorite moments in academia!
Me posing for Chris… meme-ified.
Chris shaking his groove thang… Ballou digital drawing, 2016.
Growing up, one of my favorite things to do was to spend time down in the musty basement at my childhood home on Wolcott Hill Road outside of Camden, NY.
Down there, in old moldering boxes, were piled my Dad’s World War 1 model airplanes: Sopwith, SPAD, Neiuport, Fokker… All were there. As a 4 year old I was so excited to explore down there and imagine them in flight. Later on, I spent a good deal of time making my own model aircraft, and went through the enjoyment and frustration of the hobby modeler (that glue, those paints!!). But it all started in that cellar.
My father is an amateur World War 1 historian. He has fabric from Zeppelins, shell art from the trenches, original War Bonds posters, and THOUSANDS of books. Those small plastic planes, though. I loved those most of all. If I could have anything from my childhood, I think it would be those.
Last week I took my son to a local art store and decided to pick up a little Fokker Dr 1 Triplane model. A couple days later we sat and put to together. Now it is hanging above my desk in my studio, cruising above the ephemera. We watched some videos about World War 1, looked at pictures of Manfred von Richthofen, and watched the classic Peanuts cartoon about Snoopy dogfighting in his Sopwith Camel/Doghouse. It was a good day.
I might have to get another one for my son as he is a little incensed that I would mount the bright red plane out of his reach…
Well, I think I said all I really needed to say at the one year anniversary of my cardiac arrest – you can read about that here.
But I still wanted to throw a few remembrances up here to mark the occasion. What’s interesting to me is that even before I was really making memories again (because of the medications, etc) I got back some of my sense of humor.
Apparently I still felt waaaay out of it, as you can see here:
But I REALLY loved that oxygen mask…
It’s always nice to get a dose of high-percentage oxygen while pretending to be Darth Vader!
I woke up a couple times before being back to myself, which was about a week later on February 24th. Here’s a picture of me in my natural state – on the iPad :)
I like this picture because it’s the first one where I seem normal – holding my head up, looking focused – after the event. I think it’s good to mark these “traumaversary” days with thankfulness – and I am.
It’s amazing how little Atticus was then, how big he is now, and how that amazing personality is shining through. I loved how my kiddos came around me. Those notes and hugs are so precious to me. I have saved many of the drawings, notes, and other ephemera that came to me in that room in Utica, NY.
I have scars on my arm from where the port was in, and scars on my nose from where I tore out my intubation… man, I’m glad I don’t remember some of that stuff… throwing up, aspirating on the vomit… ugh.
Glad to be on this side of it. And to have worked out enough to shrink that massive neck paunch I had back then. Sheesh!
Kehinde Wiley‘s portrait of Barack Obama is a nice addition to the history of presidential portraits. It contains a wonderful and strange double narrative. He emerges, calm and distinguished, from a wall of bushes: the Bush Era. The Bush, however, still ensconces him. It clings to his feet and begins to shroud the regal chair upon which he sits, just as the context set by George W is never too far away from the Hope and Change Obama partially realized. He is separate and beyond that Bush. But it still forms the space within which his history takes place.
Though he made strides in some human rights issues, in some economic issues, and in some issues of global policy, too much of the damage wrought by Bush and Cheney remained. And all too many Bush era policies lived on in the Obama White House. Cornel West has famously railed on the ways Obama failed to be the change he heralded. Particularly in terms of US war efforts, Obama maintained and expanded the failed, horrible strategies that have kept us stuck for nearly two decades. Sure, Obama got Bin Laden and drew down forces in Iraq and Afghanistan, but also massively increased drone usage and attacks around the world (both issues that have been mostly ignored by the American people). He continued attacks on whistle-blowers. He continued aid to various military forces around the world known for illegitimate attacks.
We can blame Bush and Cheney for starting it, but we have to admit that Obama made mistakes in dealing with shit they started. And we have to deal with the reality that there are unfortunate continuities from Clinton through Bush, Obama, and into the Trump administration. Yes, he helped end the recession and signed Dodd-Frank. But he also bailed out the banks and auto industry, moves which were not necessarily in the best interests of the 99% of us. Yes, he spearheaded the reform of health care and a nuclear deal with Iran, but both of those – like so many of his accomplishments – have been constantly undermined and/or reversed; the solutions weren’t robust enough.
The portraits are wonderful, but the President’s is a reminder that his legacy is double. I’m certainly not negative against President Obama. I think he did a decent job with the hand he was dealt. I think he was an inspiring leader and a person who used the government to help many people. Unfortunately, he also maintained a lot of the ways and means of previous administrations. He had to work within structures that often subvert human dignity and fail to lead to lasting change, which is partly why Trump has been able to counter so many of his best efforts.
I hope that we soon have leadership who will take the best desires of a man like Obama and reject the insidious systems operating within this country that keep us from truly liberating “the better angels of our nature.”
One of the First and One of the Last – Two pieces currently up in the Ballou Collection.
The two paintings below are cherished parts of our collection. I’ve had the Norbert Marszalek painting for about a decade, dating back to my time living in Chicagoland and having a few conversations with Norbert at the Contemporary Art Workshop.
Norbert Marszalek – Cup and Saucer, oil on canvas, 8×9 inches. 2003.
At the time this was painted, Norbert was still in the midst of several figure-based series of works featuring interiors and portraits. Over the last several years the cup – in particular the tea cup – has become increasingly important to Marszalek and he has focused on it. The attention he has given to the tea cup has caused his work to move out into sculpture and installation. It’s cool to me to have this early cup in my studio to demonstrate the way that sometimes small touchstones can roll up into mountains of concern in the work. I love it.
Dylan Mize – Remembrance, oil on canvas, 12×10 inches. 2013/2014.
I met Dylan when he was an undergraduate at the University of Central Missouri. During studio visits his interest and passion really stood out. Over the years I’ve admired his tenacity and investigative spirit. He’s also really into chess, and has both played the game well but also made some wonderful, effervescent pastel drawings of the action of chess tournaments. He has an instinct for relationships of form and color and mark that are just exciting to me. I just recently got this piece and framed it up with reclaimed oak. It’s a wonderful splash of color in my studio.
I completed a number of projects in 2017 and started a few more. Setting goals and keeping an eye on the prize during the vicissitudes of daily life can be hard, but I’ve gotten better at it over the years (thanks mostly to my loving partner, Alison). I already mentioned stuff about my exercise routine, and posted about my exhibition of recent work (that opens today!).
Back in May I set some goals for the year while at the Wakonse Conference on College Teaching in Michigan. Here are my written goals:
I’m happy to say that I’ve worked to complete most of these items and even those I’ve not yet finished have been pushed forward. I’m glad, given how agitating 2017 was socially and politically, that at least in terms of family and my work I’ve been stable and focused. The results are things of which I am really proud.
Probably highest on my list is the publication of my essay On Scholarship: Empathic Attention, Holy Resistance. It appeared in SEEN Journal and explores the importance of attention in an environment of political vitriol and “fake news.” I hope you’ll pick up a copy and read it – it’s one of the best things I’ve written in years, and it shares space with artists and writers and thinkers I admire. I’m really thankful for the opportunity to have this piece out there.
I am also super excited to be working on a piece for The New Territory. If you are a Midwesterner, you need to get this publication. I am working on a piece exploring the work of Joey Borovicka and adjacent ideas about interiority, Midwestern space, and solitude. I can’t wait to get it finalized and ready for the editors to sort through. Getting to write about key ideas and the work of others is very important to my identity as an artist and educator. I also just love being involved with publications like The New Territory and SEEN. They are labors of love and works of passion that really do the hard work of shoring up meaning, intellectual effort, and spiritual yearning.
I hope to continue this trend in 2018, as I’ve got the Promotion to finalize!
Of the last 685 days (since my heart attack), I’ve worked out on 627 days, beginning the second week of April – those early months were light. I worked out exclusively under supervision by the Cardiac team at the University of Missouri Hospital. After 12 weeks of observed/monitored exercise, I was cleared for doing it on my own.
By September 2016 I tried to do a heavier workout every other day. In January of 2017 I began to do those workouts daily. I am up to 359 days (including today) of “full” work outs – 45 to 60 minutes of elevated heart rate and an average of 4.6 miles of walking/running. Maybe that doesn’t seem like much. Even to me it doesn’t seem like a lot… but when you factor in my medications and how they change my energy and recovery, as well as the time it takes to get to and from the gym, shower, coordinate schedules with my wife and kids and teaching… yeah, it’s a major commitment.
In the past when I was more of an athlete and worked out consistently (before we started a family), my endurance and strength were much higher than they are now. But I’ve always been prone to overuse injuries – both rotator cuffs have problems from those years in my late 20s/early 30s when I lifted weights. Now I work on weight machines for only a small portion of my workout and try to keep impact to a minimum. I generally cycle through squats at 80% of my body weight (I press between 180 and 210 lbs), pectoral presses at 120, 100, and 80 lbs, curls at 100, 90, and 80 lbs, abdominal crunches at 150, and tricep presses at 150 and 130 lbs. The most important part of this work out is the squat portion, since my hips, knees, and ankles are pretty weak and painful. I’ve definitely grown in strength, endurance, and bodily comfort over the last year. I feel better than I have in 5 or 6 years.
Most of my workout time is spent walking, running, biking, or using an elliptical (I cycle through the different exercises over a few days). I also do some rowing and stair stepping from time to time.
So what’s the point of sharing this? I don’t have any big triumphs. I’m not reaching my ideal weight. I’m not prepping for a marathon. I’d be one of the first to be cut down in the Zombie Apocalypse. I still struggle with eating right (though we are mostly vegetarian in our daily diet as a family). I still love beer and carbs. I’m not sure that all of this effort is really helping me physically. But I do feel my awareness of my self and my experiences of living are more present in my mind these days. I do think it makes a difference for my heart health. Beyond all of this, though, the time spent working out is time for reflection and thinking about what interests me. It’s personal time. It’s mental health time.
Now if I could only manage to sleep more…
Note: I’m getting the opportunity to show a new group of WHENEVERwhen pieces right off the bat in 2018. Here is my statement for the exhibition, with a few of the works interspersed within the text. I’ve enjoyed some wonderful experiences at Sager Braudis Gallery over the years, and this is the high point. I’m pleased with their installation and think the work looks great there. Of course, I’m biased. I’d love to hear what you think. You can see some gallery information here.
Splint – Oil on panel with custom oak frame. 2015-2017.
For more than twenty years, my painting, drawing, and printmaking have oscillated between symbolism-heavy representational imagery and formal explorations in the tradition of 20th century abstraction. This seemingly broad swing of subject and purpose in my work is directly related to my conviction that the core visual dynamics of either mode are, essentially, the same. I often tell my students that I’ve been making the same picture for my entire artistic life.
Sometimes I have felt led to apply those underlying compositional forces to the service of representational imagery, and other times I have felt the need to strip away everything but color, material, and surface. When I pursue abstraction, the resulting work is a foray into perceptual and physical experience. Thus, even though the works do not depict discernible objects, they are still – to me – realist in the sense that they focus on observational and haptic (sense of touch) phenomena. Conversely, my representational paintings are always abstract inquiries into the nature of meaning, purpose, and human engagement.
Periodically, when the communication of abstract, metaphorical ideals feels incongruous to me, I move intuitively into abstraction. The last time this shift occurred was about two years ago. I was coming out of a long period of working exclusively in the tondo format and had begun to readdress the rectilinear format standard to most painting and drawing. I had rejected it previously because it felt too much like a window or door space. I was looking to depict my ideas in some other form of oculus, something more subjective and mysterious. I started, in sketches and digital studies, to break the picture plane in a number of specific ways. These breaks were related to the work and ideas of artists such as Magalie Guerin, Vincent Fecteau, and Marcelo Bonevardi (among others). I was also greatly influenced by my research into Eastern and Western mandala forms as well as the newer generations of digital painting and drawing apps I was using.
Then, at age 39, I had a heart attack.
The near-death I experienced purged my interests. Though I have completed a few straight representational works since that cardiac arrest in February 2016, the vast majority of my work has focused on a series of abstract investigations I call WHENEVERwhen. In the WHENEVERwhen series I deploy an array of formal strategies that accumulate over time and leave a record within the work. These strategies are diverse; they might function in terms of simultaneity of form – for example, an area may appear to manifest as both light and solid structure – or display a counterintuitive sense of weight and balance. I have also incorporated a significant amount of collage, relief cutting, carving, and digital prototyping into my working methods.
Icon Eikon – Oil, acrylic, marker, and spray-paint on shaped panel. 2016-2017.
Another significant development of the WHENEVERwhen series was my use of shaped surfaces and disrupted framing. I have been obsessed with making frames a part of the work for many years. At first I used clean, minimal float frames. More recently the frames both hold the work and are painted on or defied in specific ways – often through cutting and reassembly – in order to fit them into the pictorial language of the work. This integration of the frame is important to the sense of edge, continuity/discontinuity of the visual field, and aesthetic structure I seek. A number of my WHENEVERwhen works are framed in vintage oak reclaimed from old church pews and University of Missouri drawing desks. This 50 to 70 year old wood adds a density that corresponds to the surfaces and textures comprising my work.
The WHENEVERwhen series is serving as a kind of pivot within my life as an artist. I am bridging influences across history and media in ways I have not done in the past. I am pushing through old modes of working and thinking. My proclivities are both affirmed and challenged. My assumptions are acknowledged, and either used or left aside. Of course, this pivoting is also happening in the paintings, drawings, and prints themselves. Somewhat disheveled and awkward, yet bursting with chromatic beauty, these works are artifacts of aesthetic exploration, distillations of influence, and tributes to rigorous play.
Matthew Ballou – December 2017
A la Lutes – Acrylic, gouache, Sharpie, and graphite on relief structure. 2015-2017.
Here are some installation shots of some of the work… I hope you can come and see the work before the show closes at the end of January.
Last year I started a periodic series about artworks that I’ve collected – through purchase, gifting, or exchange – over the years. I’ve been thinking of moving some art around in our home recently, so I gathered up a couple nice pieces that I have gotten – one very recently – and put them together with one of the collaboration pieces I made with Joel T. Dugan.
Here they are – A wonderful Joey Borovicka window painting that I got just this past month, a thick Barry Gealt work of juicy saturation, and that collaboration piece that Joel and I made. I really think they hang well together. A little song at the front door of our home.
Here’s a nice detail of the Borovicka piece, entitled 4 Minus 3 Equals zero. Check out Joey’s wonderful Instagram feed for lots more of this enigmatic, compelling work. Below is a close shot of the Barry Gealt piece Waterfall III. Barry is one of the most important people in my life. He has an influence within me that is almost unparalleled. There are perhaps only 6 other voices that guide me more than his has.
Finally, the collaboration piece with Joel – Pile. Joel and I are in the midst of a collaboration of nearly a half decade at this point. We’ve been recouping recently, digging in for another push. With a number of shows together and a collection of roughly 40 works, our partnership has been a long term joy ride into the space between understanding and complete mystification. It’s been powerfully transformative for me.
So there it is. Another installation of The Ballou Collection. Hopefully I’ll get back around to it before another year has passed. Buy art, people! Fill your spaces with art from people you KNOW and CARE about!