Monthly Archives: March 2010

Oranje 2010 To Take Submissions Starting Thursday

Just announced a bit earlier by Oranje on Facebook is that submissions for this year’s Oranje event will begin Thursday. Oranje is one of, it not the biggest art events in Indianapolis/Indiana. My experiences with it last year did a lot to reinvigorate my own drive, and I set getting into this year’s as a goal before I’d made it through the second floor last year.

So, obviously I’ll be submitting myself for it, and working hard to be manning a booth there this year. I’ve got new series (painting, photo, and mixed works) that will be done by the September 18th date, and I’d like to be able to premiere a few of them at an event with the scope of Oranje.

Wish me luck, and all you other artists reading this in the Indy area, get off your duffs and give me competition for those booth spots.

Get Your Cameras Out, Photo Walkabout Returns

So, it’s about time to fire back up the old Photo Walkabouts. It’s been a long winter, but Indianapolis is shrugging off the cold finally, evenings are longing for some adventures, and my poor E-3 is getting a bit bored. So, it’s time to get back to the grind. Pull out the ole kit and take some pictures. Scrub the rust off my skillz.

So, the next one is Monday, April 5th, at Coxhall Park, Carmel, Indianapolis. Nick and I will be getting there around 6:30pm, and as always everyone is welcome to join us for a few hours of chit-chat, shooting the breeze, and shooting the scenery. Anyone interested in coming who wants to throw in for a model let me know in short order and I can try and get us one. Pretty people rarely hurt photos, I’ve found.

Things I Own That You Don’t (Nathan Monk Messenger Bag)

So, I got my messenger bag back from Nathan Monk, who I had asked to raise it from the bland (if still stylish) surplus messenger it was to a one-of-a-kind work of art-cum-laptop tote.

I’d say he succeeded in that endeavor.

It was interesting, and a bit unexpected, to see such a clean ruled and geometric piece from him. But, it is immaculately executed, and utilizes the skyscraper/skyline motif that’s such a recurrence in his works, offset nicely by that organic wisp suggesting clouds. All and all, a very cool piece to have around.

The Problem With Being Clever

Random thought I just had, but, among the reasons why I stick to traditional media in most of my works is that I feel once you start doing work based on being clever, then you’re only ever as good as your last piece was clever. And boy it’s hard to keep being clever.

Thoughts on My First Solo Show, ZmZ Edition

Photo by Jennifer Parker

So, as many of you might be aware, Saturday evening was the closing reception for my show “We Search For Another.” And, it was something of a big deal for me. It was my first solo showing, if you don’t count “…And Sometimes They Opened Galleries,” which you shouldn’t because that was thesis work. And, it was my first proper series of paintings (although to credit my reputation, it didn’t start that way.) So, it was really a lot of impressiveness all around. The show, which was made of 11 pieces (with one not hung), was of course an exploration of the dynamics of relationships, identity, love, abandonment, leaving, yadda yadda. On some level, it was serious stuff.

On the other level, it was me, as many people who paid attention the flippant, sarcastic, or otherwise meta titles commented. Serious stuff is absolutely no time to take yourself seriously.

Naught But An Odd Tree” was a runaway success, though somewhat bittersweet for me (given that it was painted after a fight with my now-ex girlfriend). It was complimented at the reception by the introduction of “Nothing To Say And Everything To Lose,” a fairly sizable piece (pictured there beside me, in prog pics still coming, I promise.) And, I sold a piece, so all’s good there.

Jennifer at MEA was a pleasure to work with, which is something I hope to do more often with the impending return of Grimey Studios. Quite a handful of wonderful people, family and friends, made it out, and thanks to them all for that.

I have mixed thoughts about a restaurant gallery. On the negative side, business has to take precedence, so space, lighting, and foot room are all a bit questionable. On the other hand, the removal of the artwork from the foreground to the background leads to people spending way more time staring at it (I know I’m guilty of cruising through galleries, but I can spend a half hour drinking a good beer.) And that’s good, good art you have to live with and it unfolds a bit for you. Thanks Scott, for teaching me that.

Why do you choose the different mediums you do for the different ideas?

When I was talking with buddy Phil’s brother and his brother’s girlfriend, I mentioned that I was going to spend some more time doing photo, and that I do different work in painting than I do in photo. And, the girlfriend who’s name I have apparently forgotten, had the wherewithal to ask me how it is I choose a different medium, and that seemed worth revisiting.

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Sometimes They Closed Galleries…

My first solo exhibit, We Search For Another closed yesterday. I’ve got shots of the development of the final piece for it, the rather sizable work titled “Nothing to Say and Everything to Lose” that I’ll put up Tuesday, I just realized in my rush to get it to the show I didn’t get a shot of it in its final state. I’ll do a proper write-up on it tomorrow, but for tonight, hey, lookit me there!

C’mon Zed, sulk a bit more, I know you can do it!