[ DATA DUMP ] Recent portfolio of work
[Click images to enlarge]
Encaustic, 21″ x 24″
Encaustic, 12″ x 14″
Encaustic, 21″ x 24″
Encaustic, 21″ x 24″
Encaustic, 12″ x 22″ & 24″ x 48″
I made this painting 15 years ago. It is fairly large 48″x 60″. I still find myself in this relationship to what I sense around me.
These past many years have been emotionally traumatic for me. And last winter, I got hit again hard with the neglect of my studio and the lost of much of the last four-years of work. Since then I have been trying to be realistically positive and slowly work myself back into the studio. During the spring I worked mostly from my laptop. I posted to this blog. I participated in Paul Sargent’s show “Precious Cargo” (with many thanks to Paul), and the US Social Forum in Detroit, and I spoke a several times about my work and impacts on my community.
Recently, I made a stronger commitment to reenter my studio to rebuild it. I couldn’t just clean it up – I had to change it. In the process I found old work scattered, damaged and thought lost as my life was preoccupied with more pressing issues and wasn’t strong enough to hold and preserve them. It is nice to find them.
This week I tore into the second floor and knocked out a few walls to open up the space. I would love to cathedral the ceiling but I don’t have the money to do any of this – I just have to do something. We will see how things go.
I will be participating in Paul Sargent’s “Precious Cargo” show in Buffalo this month.
March 18 – May 15, 2010
University at Buffalo Art Gallery
Opening Reception: March 18, 5 – 7pm
Screening Event: May 14, 2010
Hallwalls Contemporary Arts Center
Precious Cargo is an exhibition of contemporary art and design projects addressing the flow of goods and services in an interdependent post-global world. Organized by multidisciplinary artist Paul Lloyd Sargent, works in this exhibition critique and complicate such binary oppositions as: inter/national vs. regional/local transport, [interdependent] global trade vs. [self-sufficient] local trade, supply chain vs. disposal chain, resource exhaustion vs. sustainable culture, consumption vs. reuse, resource vs. commodity, and more. This is the second exhibition in an annual Artist in Residence program in which artists are invited to transform the gallery space over the duration of the exhibition run, providing audiences an opportunity to engage the artist-at-work and witness the transformation of the gallery over time. Sargent will be working in the gallery on March 20, 30 & 31 and April 1, 6, 7 & 8 constructing “Not To Scale,” a working relief map of the Great Lakes and St. Lawrence Seaway made entirely from found objects illustrating the lock system, canals, and waterways necessary for travel from the Atlantic Ocean to ports along each of the Great Lakes.
Contributing works in the UB Art Gallery will be:
The Center for Land Use Interpretation(CLUI)
The Center for Urban Pedagogy(CUP)
Compass Group working in the MRCC
View Larger Map
Has a long History locating first principles, origins, truth, author and identity. Now we are looking for whom to blame.
A few preserved works from a recent studio disaster.
About a month ago I had a string of disasters in my studio. I suppose this is not an unfamiliar occurrence in one’s career. This happened during the holiday’s while I was inattentive to my studio. At the time I was not in a condition to deal with it, nor was I ready to pick-up the pieces. To date I still haven’t gone in there to clean things up, but I plan to soon. I’ve been waiting for a change in perspective that would allow me to look at what I can save, and what good I can pull out of it. I’m just about there and I am actually excited about the prospect of getting to work again. The photos above were taken in the early fall.
I tend to work on a body of paintings simultaneously. They are all encaustic and mix media on canvas. As I just commented to a friend I can’t say they are finished yet but some are. Some are just testing ideas. Some are opening new ideas. And some are ready to close an idea or abandon it.
The First four paintings and the last three in this group are 42″ x 48″. The remaining images range from 8″ x 10″ to 22″ x 24″.
(click on images to enlarge)
Here are two small works (8″ x 10″) in process. I have always enjoyed working on a small canvases and holding the piece in my hand as I work on it. There is also a freedom to experiment that is not there in much larger paintings.
<About An Artist Discussion>
I think our culture is beginning to see the artist in all sorts of disciplines and pursuits. But I, myself, keep coming back to this very physical, hands on, direct and humble approach. It is undoubtedly an exuberant indulgence, but also a place to comeback to a registrar my experience and knowledge in the plasticity of a visual language bound by very clear limits.
The opportunity to blog about the things I am invested in, as a part of the art making process, has been a good experience for me. I would hate to say that to understand my work (paintings) one has to read and know about all that I have done. On a basic level art speaks to its own experience and material. Beyond that you also need to bring something to it and you may want to choose to contribute to our visual culture.
<needing a two-paragraph bio – this is not it>
Just as in the past, when I engaged in an issue, I found that I couldn’t just study it I had to became apart of its family of knowledge. And because of this trait along with studying Art in a university setting I have worked in various visual disciplines. towards my interest to gain certain knowledge and towards the disciplines own practical ends. Regardless I’ve gained from all these experiences.
In the early 1990’s, at the time when the computer’s capacity and the democratization of the internet held great promise for a major shift in our visual culture, I jumped in. I became interested in the practical issues of how we move through or navigate this yet to be defined electronic space and orientate ourselves with in it. In my case this was framed by the forming of online learning communities of highly motivated learners, e.g., Doctors. Don’t get me wrong I recognize that much of the heavy lifting was already done by Tim Berners Lee. Anyhow….
I remember at this time interviewing with Grainger at their corporate headquarters in Lake Forest Illinois (designed by David Hansen of Perkins and Will) during the final phases of the buildings construction. They gave me a tour of the place. What struck me most about that experience was how well the architects organized this very large mall-like facility so that the individual’s immediate environment reinforced a spatial orientation to the whole. It made it very easy for someone who had no previous experience opperating in this space to intuit their surroundings and function successfully.
I took that bit of accidental experience and attempted to apply it to how I would maintain a user’s orientation on a learning website. For me this became a kind of geo-spatial issue of anchoring and extending knowledge. It meant organizing bits of information and knowledge in a particular pattern language relative to the whole. And yet more importantly to me I recognized that knowledge could have a spatial armature.
Later, I began to address spatial issues found in the severely impaired built environment of East Chicago. I served as the director of the East Chicago Waterway Management District, overseeing the Indiana Harbor Shipping Canal (considered the most polluted waterway in the country). I can’t say that much of my work in East Chicago has been realized. I know I have had a strong contribution. There are many more social, economic and political issues that have impact and there are many reasons why communities like East Chicago fail.
None-the-less, whether your planning for the built environment or building an online community, the ends are very practical and require specific solutions that work. But now, after a lengthy period of working in these other fields I am putting images like these on screen and in galleries.
Unfortunately, we had a disaster at the house. During a cold winter while we were renovating, I stored my books and work in a room where a radiator eventually burst. It took a few days before I noticed the frozen steam on the windows. The steam destroyed many of the drawings. What I could rescue I did. I had a few behind glass that I need to photograph.
The drawings are very light to begin with, still I need to do better than point-and-shoot.
I have been going through some old work that recently came back in my possession when my parents moved. Many pieces have since disappeared which were never documented. When I find more I will post them. This series is from 1983 – 84. Some are pastels and others oil on canvas.
I spent about two years doing these very shallow spaced still-lives using my mothers collection of elephants to make my way through the christian tradition in art. I started them when on a leave from college, after my second year at Kansas University. there is something to be said about doing work in your home surroundings with access to all the stuff of your surrounding life, as opposed to being away. Then again there is something to be said about being away from all that stuff. Just saying…
For me their is a clinical and an immediacy in locality in these paintings.
I have always liked the “study” aspect of still-lives. It is an orientation to my work that I have carried with me throughout my career. Everything I do is a studied observation.
I am posting this as a placeholder for the use of the term “Pattern Language.” I used it in my last post in referring to the built environment in the conflict between Israelis and Palestinians. It is a term made popular by Christopher Alexander in his book by the same name (Amazon.com). You can explore more at www.patternlanguage.com.
Because of my interests in planning I have a tendency to think in terms of how we move through the world and know. This is a good stepping-off point into a discussion about my own work and how I reference and build a painting.