It’s no secret among people who’ve heard me talk about my art that 54-33 is one of my personal favorites among my collection. Apparently, when viewed online people never really seem to understand what I mean when I say the scale of that one matters, because it’s easy to miss how big it is, and then hard to imagine that in context. So, here’s a shot of it’s full 4′ x 6′ glory on my living room wall right now.
“54-33″, by the way, was the line I spent the most time working on when I was at GM. It was a giant yellow monstrosity of a line that assembled bedsides for Chevy pickup trucks. There actually was a “T” spray-painted on one of the cement struts, which I never figured out the whole time I was there. Recently dumped by my girlfriend of two and a half years, living in the obnoxiously Christian and boring town of Anderson, working second shift, that line dominated my life, the massive anonymity and repetition of the factory line looming over me about as this painting does.
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.