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.
Naught But An Odd Tree
Sorry there’s little to no fanfare about this, I’ve been buried in getting the actual works ready.Tonight I’m finishing some framing work, and tomorrow my first solo show We Search For Another is being hung at Urban Element.
The initial body will be eleven pieces, including Naught But An Odd Tree, Cockatiel Attacks!, A Longing to Belong, Boy Meets Girl, Girl Is Bitch and Girl Meets Boy, Boy Is Dick, A Road Alone, The Infinite Wall Of Failed Communication, Sometimes It’s Over, Vanity Affair, A Connection, and To Have Or To Hold Back. There’re a few more works in the collection, including a new diptych and the second largest piece I’ll have ever done that’ll materialize at the reception, the date of which is yet unknown.
At any rate, these works will be up for about a month, and they’re all for sale, so make sure you swing by Urban Element and check’em out. Drop me a line and I’ll meet you there and we can discuss the works over drinks. I’ll keep you posted on the reception, as I’m sure everyone wants to see my mysterious new big painting.
Naught But An Odd Tree
So, I finally got off my duff and got my two newest paintings shot and up on the site. Lipstick 66 (which came a long ways from its failed original incarnation) and Naught But An Odd Tree join the ranks of my other paintings, and finally bring my online portfolio kicking and screaming to the land of “up-to-date.”
The problem is, unlike my artist friend Nathan Monk (who it seems I have something of an art-crush on, judging by how often he comes up around here), who works in things like aerosol and watercolor, I work in oil.
And I don’t just work in oil, I relish oil. And, anyone who’s worked with oil can probably guess where this is going.
Yup, my paintings are shiny. Not shiny as in “shiny, cap’n,” though the geek in me does love the Firefly reference. No, instead, they’re shiny as in “mwahaha photographing us both honestly and without buckets of glossy blown highlights is going to be a bitch.”
So, it didn’t help matters that Lipstick 66 is probably the glossiest painting I’ve ever done (boy, it shines). Or that Naught But An Odd Tree is done on two spatially separated sheets of plexiglass, one of which is a giant magnifying glass that loves distorting and obliterating whole parts of the painting when light hits it at all. But, I finally buckled down and did it anyway.
With the help of a 2 light kit with umbrellas, I managed to split the difference between perfectly flat, shiny-less lighting (which removes the character from these pieces), and the desire to have the painting itself clearly discernible. It’s not a compromise I like having to make, but physics…
I grabbed a shot of the astoundingly ghetto light set-up I managed to shove into the only space my apartment has that’s big enough to shoot my paintings: my bedroom. And also one shot of how the magnifying plexi hates light. Catch them after the jump.
So, the pictures aren’t great, my apartment is quite poorly lit. The top lid’s grooves need cut a bit deeper, but I went ahead and fastened it down for now so I could finally, over a year later, see this painting together. Shots from the front (you can see how the magnifying layer makes viewing the bottom layer dependent on angle), and the back (since seeing my notes backwards is kinda neat.)