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?
"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 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.
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.
"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.
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.
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.
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!
Tonight is the closing reception for my show, “We Search For Another,” featuring a series of oil painting exploring the aspects of relationships, loss, lust, and more.
I’ll be at Urban Element the full time, from 6-10pm this evening. I’m bringing a surprise for the closing with me, the second largest painting I’ve ever done. There’ll be general lounging, boozing, and ample opportunities to mug me and make me awkwardly discuss the complex themes behind a guy staring at a girl’s butt from 6-8ish.
From 8-10ish we’ll be settling in for some dinner, and MEA requests that you all put in reservations with Urban Element and stay for that bit, because it’s what lets them keep doing shows like mine. So, that’s now my recommendation too, obviously. Lotsa cool kids will be there.
So, don’t miss this chance to come out and see my work, because after this I’ll disappear into my hole for a while. I’ve got a site redesign, a charter, and a few photo series to get done. Bluh. This is the night out, so come out and make it groovy.
Well, since “Vanity Affair” had to come off the wall, I’ve been working on a new work to fill its gap, painted on the very same 2×2 board from college that broke my nose and gave me what those close to me might recognize as my characteristic flat spot on the bride of my nose. Not that I’m bitter, or anything.
Anyway, a compliment (stylistically) to “A Longing to Belong,” this one will probably be titled “Sometimes It Isn’t The Man That Holds Me Back.” Let’s hope it’s done tomorrow night…