Some Excellent Student Work, 2016-2017

My work as an educator is central to just about everything in my life. I’m constantly thinking about my students, working with them, trying to make my classes better, refining various projects, and generally just trying to be present in the process of their learning. I try to hold back on over-explaining myself to them – one of my biggest problems is giving the “answer” while still explaining the premise.

In any case, it’s always good for me to look back over the academic year and see what students have made. Of course, as a Teaching professor, keeping a record of my students’ work is also key to my career. Mostly, though, I find that looking through the “best” of what they make tells me a lot about what I’m presenting to them. Sure, art is subjective in a number of ways. But it is also one of the oldest and most explored arenas in all of human history. As such it is a realm of much wisdom and meaning. How my students interpret and remix the ideas I give to them – whether those concepts are philosophical or technical – is an indicator of not only how well I have explained myself, but also how much has passed through me from those who came before.

Here are some of the works my students have made over the last year. I’ll post them roughly in the order they would appear in class… basic projects, moving into more refinement and invention.

(Note: I’m including the major of the student in question, so that you can see that most of my best students are, in fact, not Art Majors. They come from all over the academic spectrum. Art has something important to give to anyone in any course of study, and that’s a reality that used to be promoted in the academy…)

IMG_7418Michael Flinchpaugh (Architecture). Perspective and Accumulation Study. Graphite on paper, 18 by 18 inches. 2016.

IMG_2378Brittany Burnett (Architecture). Interior Space Project 1 (Art Building). Graphite on paper, 18 by 18 inches. 2017.

IMG_2376Shannon Henderson (Journalism). Interior Space Project 1 (Art Building). Graphite on paper, 18 by 18 inches. 2017.

IMG_9731Kearra Johnson (Art), Interior Space Project 2 (Jesse Hall). Graphite on paper, 24 by 18 inches. 2016.

IMG_2800Shannon Henderson (Journalism). Interior Space Project 2 (Jesse Hall). Graphite on paper, 24 by 18 inches. 2017.

IMG_2801Megan Feezer (Health Science). Interior Space Project 2 (Jesse Hall). Graphite on paper, 18 by 24 inches. 2017.

IMG_2802Xinyi Hu (Religious Studies). Interior Space Project 2 (Jesse Hall). Graphite on paper, 24 by 18 inches. 2017.

IMG_9730Michael Flinchpaugh (Architecture). Interior Space Project 2 (Jesse Hall). Graphite on paper, 24 by 18 inches. 2016.

IMG_0253Shannon Kling (Art). Detail of Apollo, Gallery of Greek and Roman Casts – Museum of Art and Archaeology, University of Missouri. 18 by 18 inches, 2016. Now on display at the Museum.

IMG_0252Emmalee Wilkins (English). Detail of Apollo, Gallery of Greek and Roman Casts – Museum of Art and Archaeology, University of Missouri. 24 by 18 inches, 2016. Now on display at the Museum.

IMG_0777Kearra Johnson (Art), Self Portrait at Mizzou. Graphite on paper, 18 by 24 inches. 2016.

IMG_0780Alex Knudsen (Communications). Self Portrait With Aliens. Graphite on paper, 18 by 18 inches. 2016.

IMG_0255Mia Scaturro (Art) working on a self portrait in black and white colored pencils on gray paper, 2016.

IMG_1991A chunk of “unicorn turd (oil pastel scrapings molded together)” collected by Color Drawing (Beginning, Intermediate, and Advanced) student Sterling Labarbera (Art), 2016-2017.

IMG_1753Blessing Ikoro (Psychology). Grid Study 1. Chalk pastel on paper, 18 by 22 inches, 2017.

IMG_2825Madalynn Olmsted (Art). Grid Study 2. Colored pencil on paper, 16 by 16 inches, 2017.

IMG_2831Alexandra Sapaugh (Art). Complex Colored Pencil Study. Colored pencil on paper, 18 by 24 inches, 2017.

IMG_2823Alexandra Rowles (Health Sciences). Complex Oil Pastel Study. Oil pastel on paper, 16 by 20 inches, 2017.

IMG_2824Alexandra Sapaugh (Art). Complex Oil Pastel Study. Oil pastel on paper, 17 by 17 inches, 2017.

IMG_9836Bridget McFerren (Art, Art History, Multicultural Studies). Lunch (Wings). Oil pastel on paper, 24 by 18 inches. 2016.

IMG_2828Noor Khreis (Art). Reflection Self Portrait (In a sheet of bent metal). Chalk pastel on paper, 18 by 24 inches. 2017.

IMG_2826Blessing Ikoro (Psychology). Reflection Self Portrait (In an ice bucket). Chalk pastel on paper, 24 by 18 inches, 2017.

IMG_2827Madalynn Olmsted (Art). Reflection Self Portrait (In a pair of tongs). Oil pastel on paper, 15 by 24 inches, 2017.

IMG_9736Bridget McFerren (Art, Art History, Multicultural Studies). Reflection Self Portrait (In a chrome sphere). Oi pastel on paper, 15 by 15 inches, 2016.

IMG_2829Madalynn Olmsted (Art). Complex Lighting Arrangement 1. Chalk pastel and collage on paper, 18 by 24 inches, 2017.

IMG_2830Alexandra Sapaugh (Art). Lighting Arrangement 1. Chalk pastel on paper, 18 by 18 inches, 2017.

IMG_2725Alexandra Rowles (Health Sciences). Lighting Arrangement 1. Oil pastel on paper, 18 by 24 inches, 2017.

Amazing work – I can’t wait to see what they do next!

LEGO Sculptures on display

Thirty-four of my LEGO sculptures, created 2010-2017, are on display at the George Caleb Bingham Gallery at the University of Missouri right now. These include five bronze pieces as well.

Since I was a child, LEGOs have been a staple in my creative habits. Often, when I am met with some creative block, when I am disillusioned, or when I simply need a change, LEGOs are my go-to outlet. They offer a kind of open-ended opportunity to make things without any conceits or justifications. Usually, at least for me, this kind of building amounts to a formal exercise within certain boundaries. After all, LEGOs are a finite tool. They have limited application and range. In spite of this, however, they allow for many hours of engagement and a diversity of resolution. LEGOs really are a creative partner in my life.

 

Over the last 10 years or so I’ve been interested in a number of practitioners of contemporary sculpture and their work has influenced how I have played with my LEGOs. First and foremost is Vincent Fecteau, who crafts strange, small sculptures that exhibit a wonderful sense of hidden interior space. Additionally, Barry Le Va’s dark and geometric wall and floor installations (and the awesome drawings for those installations) are also important to me. Didier Vermeiren’s solemn, dense sculptural works manifest a kind of austerity and clarity that challenges me. These artists (among many others) inspire me to play with associations of form and color, as well as with the implications of scale. Fecteau in particular has strongly influenced all of my work over the last 6 or 8 years. 

The sculptures collected here, both those made of standard LEGOs and those crafted in bronze, are meant to function like poems of form: slight, strange, awkward, yet solid in a sense. In them I have gone through an iterative process of placement and association. In my mind, it’s all shape dynamics and formal play. These miniatures have stimulated my paintings, drawings, and prints for a long time. At this point I see them as part of my overall work, though definitely a part that’s still in development.

One Year After

It has been a year since my heart attack. Since my cardiac arrest. Since the trauma I don’t remember and that my family saw. Since members of my family kept me alive until the EMTs arrived. Since the radical changes of diet and lifestyle. Since the shift in horizon.

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Three days before that I lost my big sister; a life of incredible value and service, gone. Two months afterward my estranged step-father died; a life wasted in self-concern and alcohol.

How would people have summed up my life one year later, if it ended that night?

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Since I didn’t go, I have to assess it myself. I know my life has been valuable. I know I have taken deep draughts of experience and thought. I have been astonished. I have been disappointed. I have known love and sacrifice. I have seen things that made me cry in sorrow and weep in happiness. I have tried and failed, then barely hoped and succeeded. I have yearned and yearned, in spite of cheesiness or irony. I have worked so hard and received so much through no merit of my own doing. I have believed and doubted. All through I have attempted to be honorable and careful, passionate and present. Sometimes I have succeeded.

img_0200I am SIMUL IUSTUS ET PECCATOR.

I am AGATHOKAKOLOGICAL.

I have tried to understand what it all means. I still don’t. But I think I have some sense of how it feels.

~

It feels a little like these songs (click the titles to listen):

 

At Last

I can say that I’ve lived here in honor and danger

But I’m just an animal and cannot explain a life

Down this chain of days I wish to stay among my people

Relation now means nothing, having chosen so defined

And if death should smell my breathing

As it pass beneath my window

Let it lead me trembling, trembling

I own every bell that tolls me.

 

Fox Confessor Brings The Flood

Driving home I see those flooded fields

How can people not know what beauty this is?

I’ve taken it for granted my whole life

Since the day I was born.

Clouds hang on these curves like me

And I kneel to the wheel

Of the fox confessor (on splendid heels).

And he shames me from my seat

And on my guilty feet

I follow him in retreat…

What purpose in these deeds?

Oh fox confessor, please,

Who married me to these orphaned blues?

“It’s not for you to know, but for you to weep and wonder

When the death of your civilization precedes you.”

Will I ever see You again?

Will there be no one above me to put my faith in?

I flooded my sleeves as I drove home again.

 

A Widow’s Toast

Specters move like pilot flames

Their widows toast at St. Angel.

Better times collide with now

The tears are warm, I feel them still.

They’ll heat to vapor and disperse

And cloud our eyes with weary glaze.

You raise your glass and may exclaim,

“I’ll put my hands on the truth, by God!”

But it’s faster, love, than you and me –

Faster than the speed of gravity.

That’s how it catches you from falling

And how it always, always, always slips away.

Specters move like pilot flames

Their widows toast at St. Angel.

Better times collide with now

And better times

And better times

Are coming still.

Neko knows what to say.

~

I find attention, clarity, and rightness in teaching. I find wonderful confusion in my art-making. I find solace and laughter in my wife. I find a strange wine of joy and frustration in my children. I feel both lost and found. I feel both at home (warm, in bed), and far away in the dark (clouds, wind). I’m in orbit around a great truth and yet my tether is strung out miles from safety.

Believe it or not, all of this is so much better than the 3 or 4 years before the heart attack.

I know that some would want me to declare something, some truth, some more faithful words, some thoughts that sound more spiritually centered. I’m sorry.

Today, I want to take the lessons – the cumulative astonishments of being – as they come. I want to have joy and camaraderie in my students. I want to be gentle and full of wonder with my children. I want to continue to cherish my wife. I want to be a better husband, father, son, brother, artist, teacher, mentor, helper, and friend.

No regrets. I have not loved every moment, but I have been given such grace and love. I’m thankful.

~

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A Couple Early 2017 Highlights

This Friday, a show of my collaborative works created with the great Joel T. Dugan goes up in Brooklyn, at es ef eff gallery. Head over to 893 Bergen Street at 7pm this Friday, February 17.


Above: a work from the exhibition, “Crest” – Acrylic, oil, pastel, colored pencil, and graphite with woodblock printing on paper mounted on panel. 11 by 11 inches, 2016-2017.

I’m also pleased to share that the Manifest Gallery painting anthology I was selected for has finally been published. It’s a beautiful volume (buy it here).



Above: one of my personal favorite paintings, beautifully reproduced. The INPA6 book features some amazing work by a lot of great artists, as well as friends and colleagues… like Nathan Sullivan and Melanie Johnson:


Above: detail of a Nathan Sullivan work from the book. Below: Melanie Johnson’s included work.


Pretty cool stuff! I’m thankful! There are a number of additional events happening this year that I will share soon – exciting times!

Stations of the Cross Project

Back in November of 2016, I bid on a commission at a cathedral, calling for an exploration of the Stations of the Cross. It has been a number of years since I created a series of works based on a biblical theme (I tend to do this every few years or so) and I wanted to at least feel out the idea a bit.

While I did not get the commission, I have continued to develop the work from the proposal. Below are a bunch of the pieces in progress. Each is made on an iPad Pro using an Apple Pencil in the ProCreate App. What I’ve done in these works is dovetail my own research of Eastern and Western Mandala forms into an exploration of Giandomenico Tiepolo‘s Via Crucis from San Polo in Venice (Click through here to see examples of his works).

Here are 6 of the 14 images, in progress:

img_1448Stations of the Cross #6 – Veronica Wipes the Face of Jesus. Digital painting, 2016-2017.

img_1446Stations of the Cross #5 – Simon Helps Jesus Carry the Cross. Digital painting, 2016-2017.

img_1445Stations of the Cross #13 – Jesus Removed From the Cross and His Body Returned to Mary. Digital painting, 2016-2017.

img_1444Stations of the Cross #12 – Jesus Dies on the Cross. Digital painting, 2016-2017.

img_1447Stations of the Cross #1 – Jesus Sentenced to Death. Digital painting, 2016-2017.

img_1443Stations of the Cross #14 – Entombment of Christ. Digital painting, 2016-2017.

By investigating the color and composition of Tiepolo’s work without reproducing the details, I hope to draw out the relationship these works have with the tradition of contemplative spiritual works the world over. It is also humbling to realize that the source paintings were made when Tiepolo was around 20 years old. I see these as his MFA Thesis work, definitive proof of his mastery.

Having visited these paintings in person – more than 10 years ago – I still recall how astounding they were. Not as large as Tintoretto. Not as graceful as Bellini. Not as mystical as Piero de Cosimo. Not as abstract as Uccello.  But they hold their own as an expression of an artist growing into this own power and getting ready to pivot into his own realms of glory.

My aim for my versions of the Via Crucis paintings is to print them in large format (potentially to scale with their Tiepolo counterparts) then paint back into them, further developing the color and compositional shaping.

Color Drawing Gets Rolling, 2017

I am super excited for this semester – I’m really changing things up in Color Drawing and we started off by reinvigorating a group project from last semester. We integrate the past and boost into the future.

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img_1535This group drawing is based on Normal Rockwell’s amazing Civil Rights painting, Golden Rule (Do Unto Others) piece of 1961. Click here to see more about the piece.

Here’s to an AMAZING 2017 of creativity and aspiration.

Top Artworks of 2016

And now, my favorite artworks of 2016, made by me!

5) Untitled (WHENEVERWHEN). Crayon and marker on paper, 9 by 8 inches, 2016. Collection of Josh Matejka. February 2016. I made this one while still laid up after my heart attack…

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4) Recording With Black Phillip – an illustration I made for The Reel Friends Podcast. This episode was about The VVitch, and I was a guest commentator. October 2016.

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3) The Cloud of Unknowing Print I made, titled Unknowing. Woodblock print on Arches paper. Image is 15 by 15 inches on approximately 20 by 20 inch paper. October 2016.

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2) Sigil. Oil, oil stick, spray paint, oil pastel, colored pencil and bas relief on panel, 16 by 16 inches, 2015-2016. Finished April 2016. Collection of Derek and Charlee Zimmerman.

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  1. The C-Section. Gouache on paper, 6 by 6 inches. This is a small painting of a sculpture my oldest daughter made about Cesarean Sections. I really love this piece. March 2016.

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The Mind’s I with Anne Harris

Over the last couple of days I had the great privilege and honor to get to work alongside Anne Harris on an iteration of her ongoing installation project, The Mind’s I (click here for more info). This version of the project took place at the University of Central Missouri. Two colleagues of mine who taught at Mizzou in the past and who earned their MFAs at Indiana University like I did – Melanie Johnson and Chris Lowrance – were involved as well, as were a number of other UCM faculty and students. I brought several of my grads along for one day of the project, then I went back to work again the next day. It was a great experience.


Anne Harris at work on the project on Saturday, November 4, 2016.


Zach Nutt and Nikos Karabetsos at work, November 3, 2016.


I focused on the abstract shaping of my head foreshortened in a mirror. The strange roundness of my neck was compelling; these are some of the first self-reflective observational/figurative works I’ve made since my heart attack in February.

Below: I also incorporated some linocut Cloud of Unknowing prints into a few of my works; I really like how they turned out.

Overall it was that bulbous shape I was interested in, and how the ceiling lights altered and occuluded what I could see of myself in the strange angle of the mirror.


All of my pieces are mixed media on paper, 11×10 inches, November 3 and 4, 2016.

As you can see in the panorama above, the works were arranged in a grid to fill the space, and each one included date and time information. The array of times were an important aspect of the installation, asking viewers to consider the ween and among the works and their makers. The sense of a shared space, with each person’s intentionality bent toward the question of perception and identity, was palpable.


My piece (center) is to the right of an Anna Harris drawing. Two Simon Tatum pieces project from the wall below.


It was particularly cool to see Anne working and arranging the installation of the works. On Friday, I got to spend several hours in conversation with her about tons of topics, from misogyny in art to adoption, from color theory to the goings on at SAIC (Anne teaches there, and I earned by BFA there in 20o1). It was an amazing time. Anne is smart, warm, and inclusive, and gave lots of attention to everyone who wanted to chat with her. It was such a treat to get to hang out with her!


Above are several more works by my students Nikos, Simon, Amy Meyer, and Guigen Zha.


Above: Honorary grad Simon at work. Below: our host, Melanie Johnson working a self portrait.


On Friday evening a group of us went to eat at Brown and Loe, a fantastic restaurant in Kansas City’s River Market area.


Thanks so much to Melanie for inviting me and my students to participate, and to Anne for the great conversation and generosity of spirit she has.

Post-Heart Attack Drawings

My recent work, titled WHENEVERWHEN, is a series of abstractions. A few days after I awoke from my heart attack I began to make drawings; from then on I worked almost exclusively on the WHENEVERWHEN series. The first images I created are below. I made them laying in my old room in my mother’s house while convalescing. I worked on them within two weeks of my cardiac arrest. All are available at $75 each, unframed ($100 gets you one custom framed). Email me at mattballou(at) gmail (dot) com to purchase. Click to enlarge the works.

img_0734Untitled WHENEVERWHEN drawing, crayon and marker on paper, 9 by 8 inches, 2016. SOLD.

img_0733Untitled WHENEVERWHEN drawing, crayon, white-out, and marker on paper, 7.5 by 9 inches, 2016.

img_0732Untitled WHENEVERWHEN drawing, crayon, white-out, and marker on paper, 8 by 9 inches, 2016.

img_0731Untitled WHENEVERWHEN drawing, crayon and marker on paper, 8 by 9 inches, 2016.

img_0730 Untitled WHENEVERWHEN drawing, collage, adhesive tape, ink, crayon and marker on paper, 10.25 by 9 inches, 2016.

Recent Publications

13725109_10154344363709491_3439759102298509937_oCollaborative digital artwork featured in the neotericART piece. See below.

I’ve had the great pleasure of having a few publications this year. I’ve always got 2 or 3 pieces in the works, so it makes sense that they’d come out from time to time. This year sees a brief but prestigious invitation and two wonderful panel discussions that I coordinated. If you’d like to check them out, see below:

Nerdrum Bio for Grove Dictionary of Art

Dr. Judith Rodenbeck of the University of California invited me to write a biography of Norwegian painter Odd Nerdrum for the Grove Dictionary of Art, an imprint of Oxford University Press (online version is here). Dr. Rodenbeck is the lead editor of the 2016 Grove Art update. My piece will be published in the next couple of months. I’m pretty excited about this!

A Non-Verbal Debate: Digital Collaborations

This piece, created for neotericART (where I have contributed for many years), is a discussion of online, live collaboration tools – digital whiteboards – and how artists are beginning to adapt them into their work. Just the tip of the iceberg on this developing practice!

You Make The Work By Performing It: A Roundtable Discussion on Oblique Perspective

The Finch is an amazing online publication co-edited by Richard Benari & Lauren Henki. They invited me to lead a group of my graduate students in a panel discussion about some of the ideas that Dorothea Rockburne brought up in a recent interview. Our far-ranging conversation was one of the best I’ve had in a long time.