Tag Archives: mea

Artists In The Wild: Jonathan Foerster

Anyone remember Jonathan Foerster (@atleastwedream)? I talked about him back when MEA was having his closing reception? Well, color me surprised (and a bit happy) today as I’m browsing a link I followed from Anthony Pipkin’s Twitter (@apipkin) for 777 HD Wallpapers, and what do I see linked if not “Sonnet” by Jonathan Foerster (which was the very image I used in my post about him, nonetheless).

Now, though, the only question is: I don’t see Mr. Foerster being credited anywhere for his work (or, many of the other artists for that matter), did anyone stop to, you know, ask Jonathan his permission to use his art? I mean, while I’m all about sharing art openly, you might notice that copyright down at the bottom of my page thinks people should still merit attribution when publicly posting works. Is that really so much to ask? I mean, they’re already listing the post title, why not credit Jonathan for what I know first hand from talking with him was hours upon hours upon hours of work to create that image?

I’ll have to see if I can get ahold of him about that. In the meanwhile, you can peruse a large collection of other excellent works, but keep in mind that most of them are unattributed, and anything you like on there was done somewhere along the line by an artist who at least deserves a mention for their efforts, you know?

MEA Closing Artist: Jonathan Foerster

Sonnet, by Jonathan Foerster

"Sonnet," by Jonathan Foerster

OK, once again, in the name of full disclosure, I work for/with MEA, so, if you choose to view me discussing their closing artist of the month as a shill, well, it partially is, but keep in mind also that I’m contentious enough to only associate with and plug things that I’m willing to stand behind, yeah?

And, let’s get this out of the way first thing: Jonathan Foerster has fucking chops. Seriously. See that up there? Pure digital art. I’ve seen the print. It’s gorgeous. You can get lost in his detail work. I have. His work is fascinating to observe, especially in the large prints he makes. There’s so much to take in, so many little curves, so much detail. And, he makes it all look easy. Organic elements frequently weave into more traditional ‘digital’ geometries. Ambiguous, amorphous flare shapes such as were making headway a decade ago when MDFMK was together are tinged with branches and roots, should you inspect closely enough. It’s a painful pun, because his work is made of many, many layers in Photoshop, to insist that his work is, in fact, layered.

But it is.

"Carcer," by Jonathan Foerster

Jonathan’s a bit of a quiet guy. I met him when we hung his show for MEA, and he really is very under-spoken. Which is almost a pity, because it’s hard not to stand in front of a couple walls of his work and not be overwhelmed by a desire to ask him more about it. It’s awe-inspiring work. What it disobeys in all conventional formal art principles like subject or compostion it more than makes up for it use of contrast, color, texture, movement, and detail. The detail. It seems like there’s an endless amount of new details to notice in his work.

And, he offers very little about his work on his site, At Least We Dream. All he really offers is that after working eight years on a different site, he now does this.

Well, I for one am glad he does. To say this is among the most impressive work I’ve seen from the Indianapolis art scene is a mild understatement. This work is fantastic, in imagery, scope, and execution. And, I hear we’ll be seeing more of it at a much bigger event than MEA’s humble showing soon. But, that’s all I can say about that.

If you want to see many of these wonderful pieces in person, you’ve still got time. The closing reception is this Friday (August 6th, 2010) at Urban Element, and they’ll be up over the weekend before September’s artist goes up next week. Please, find time to come meet Jonathan at the closing. Or, at least, come see his work before it comes down early next week. It’s well and truly worth it.

If you need details, check out MEA’s Facebook event listing here.

I Am Officially Assuming This Is Art

I found this, as the watermark might suggest to the more clever of you in the audience, on “There, I Fixed It,” the only site in the Cheezburger empire known to routinely amuse and amaze me with its feats of sheer humanity. The site exists to showcase kludges: those haphazard, impromptu, and often ill-advised solutions to problems.

Thing is, I’m not convinced this is a kludge.

I mean, for one, only one of those locks are attached to a non-bike, as near I can tell.

They’re also all the same silver-to-black gradient.

So’s the bike.

Man, that many u-bolts would cost a fortune.

Nope, this is definitely art. You want my guess, it’s an installation piece commenting on us as both a paranoid society, one that needs to lock, relock, and triple lock even the most minor possessions to feel safe. Sadly enough, we’re also a society where someone somewhere would steal that bike if it wasn’t locked down, because, well, that’s what some people do. It just feeds back into point one as a nasty loop, which this does a pretty good job of reflecting upon. It’s a farce of minor theft and disproportionate paranoia (those u-bolts had to cost more than that bike. There’s what, over three dozen of them there? At a bargain-basement $10 a piece that’s still $360!) My best guess on the gradated color scheme is the visual texture it adds to the piece, the silver highlights draw our attention to the individuality of the u-bolts, letting the full seething mass of it strike us without the complexity of hue, and with merging into a giant hairball of metal as it would in true monotone.

So, c’mon, whatcha think gang? Poll after the jump.

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Emily Hughes

NOTE: Full disclosure here, I was introduced to Emily Hughes when she contacted me regarding my long-suffering Grimey Studios project. I recommended her as an artist for MEA before I was a member of the same, so, I am discussing her here as a friend despite her current MEA show. That’s just fortuitous.

"Viberenergy," Emily Hughes

Alright, after a time period best described as “entirely too long,” I think we’re do a look at the work of Emily Hughes, a friendly acquaintance of mine. Emily, who’s in charge at the Logansport Art Association here in Indiana, is a fairly activist-minded, er, illustrator? Just what do you call someone who’s work is primarily drawing (charcoal, ink, colored pencil)? Draw-er just sounds weird, albeit amusing. Illustrator, though, now that sounds respectable, if inaccurate. Hmm…

"Time," Emily Hughes

Moving on, her work is line based, so any comments I have about it being strongly based on line and detail seem a bit silly, but it’s still worth noting that there is a very strong textural presence to her line-handling. Emily’s lines rarely stop and outlining, and go on to form tight, knotted swirls defining trunks, and bark, and other dense, textural areas.

Most of her pieces are in what she’s calling her “Tree Concentration,” the exact concept of which I intend sit down and talk with her about sometime. Overall, the series seems to work by contrasting human figures in their naked state against marshy scenes of trees and related flora. Suggestions of ensnarement (or entwinement, depending on how at peace the figure is with te interaction) crop up frequently.

"Introduction To Color," Emily Hughes

And, while so far the large, full-color piece I opened this post with appears to get the most comment and attention, I personally prefer her more muted, layered works, such as “Introduction To Color,” with it’s very limited color palette and contrasted figures and situations (not to mention the swirling textural lines and the many fine branches that keep encouraging me to pay closer attention to the technical craft that created it.)

But, whatever of her works you prefer, she is MEA‘s featured artist for this month, so any of you in the Indianapolis area (or a bit farther, if you don’t mind the drive) can see eight of her works hanging at Urban Element from now until June 4th.

Back to Local: Christian Fillippo

"Original Firestorm," by Christian Fillippo

Been a while since I talked about a local artist, so today we’re tackling Christian Fillippo. I actually got to see some of Christian’s work back in February during an exhibit he was a part of called “Glacial Layer.” That was at the Murphey Building here in Indianapolis, which is basically my favorite place to go when I need a bit more art in my life, so it was a good time.

Christian’s work tends towards large. 3’x4′ seems to be a common size. Which works. I’ve always found that abstract / expressionist / abstract-expressionist pieces tend to convey themselves better when they’re the size of a wall. It gives the paint room to breathe, and for strokes to be strokes and splatters to be splatters. It gives everything space to have scale and texture and layer, and without a subject per se that level of paint handling becomes important, it has to be the star.

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Zed + MEA = Loveage

Hey all, remember that swell group MEA (Midwest Emerging Artists) that sponsored a recent show by everyone’s favorite Zed Martinez (no, not that one, me silly). Well, as of tonight I find myself a working member of MEA, and not just the paint monkey they’re sponsoring. So hey, parties all around kiddies!

Now, with MEA I’ll be helping to do, well, anything. Everything. Find and schedule venues, artists, funding, you name it. The Indy art scene is a tough place, and we’re going to be working on finding new places to show at and new artists to show there. It’ll be fun. No, fun, smile. Bigger. That’s better.

So, for those of you faithful wondering what this means for my legendary and oft-postponed Grimey Studios, well. See, the goal of Grimey Studios will be to help raise funds so that artists can focus on making art, and not making compromises. And, that’s the sort of thing that would benefit greatly from an expanded MEA, who have the advantage of being an established name. So, the goal is to divert some energies into helping out at MEA, and then sometime down the road Grimey will still arise in partnership, or something, and there’ll be the group for promoting and showing the arts, and the group for financing art so that it can stay true to art, and it should, theoretically, be a synergistic ball of awesome. And tell me ‘synergistic ball of awesome’ isn’t the most exciting phrase you’ve heard today. Go on. You can’t, can you? Because it’s that awesome.

So, let’s look forward to the future with MEA. It’ll be sweet, I promise.