I've been back in the studio regularly over the past couple of weeks. I've come out of it with one new painting finished and a couple of others nearly so. I really feel that I'm back in a good space, mentally, unlike how I was feeling when I wrote the last entry. I'm still fighting to maintain some focus and make sure I take care of the things I need to with my creative life.
Things are changing in my life in ways I never knew they would. I'm still a little too close to what's going on to have any real perspective, but it's a good thing...or crazy as hell. I guess I'll have to see what happens over the next few months.
......
Someone recently sent me an email asking me do describe what it feels like when I'm painting. She also asked what I did to revive when I wasn't feeling particularly creative. These are my answers which I've expanded on a little:
How I feel when I'm inspired and painting is hard to pin down to exact words, but I suppose being 'in a zone' is one way of putting it. There are times where I'm so into what I'm doing that I might forget to eat. When i'm painting, there's usually a feeling of excitment. There's a feeling that there's this unseen energy flowing through me that only becomes visible through what I do on the canvas, paper, or whatever else I happen to be working with. It manifests itself in the brushstrokes, scrapings, lines, pencil marks and more...
I've thought about what I feel when painting or doing some other creative activity. There are definitely different energies contributing to what I do. Some are sexual in nature, others are more aggressive and still more that are subtle. More often than not, there is a combination of these and more that I haven't been able to identify.
If I'm feeling creatively blocked, these days I give myself permission to lay off for a bit. I used to agonize over not being productive all the time, but I found that approach to be more taxing than letting it go for a little while.
I tend to work on more than one piece at a time, so if I'm having issues with one painting, I'll put it aside and move to something else, usually another painting or drawing. If nothing is working, then I'll call it a day and leave or not go into the studio in the first place. It also helps to focus on other things for a while, as I get inspiration from sources other than art, like design, music, books, films, etc...
Tuesday, April 25, 2006
Thursday, March 30, 2006
hmmm
I'm not being very good at producing much right now...very distracted by all sorts of things and not keeping a regular studio schedule...
Wednesday, March 22, 2006
left or right
Did some painting today. I don't know where this is going. Maybe I'll get a clue tomorrow or the day after that...
Thursday, March 16, 2006
shadows and light
My camera and I are almost inseperable these days. I've been into doing self-portraits lately, and a lot of them. It's been a real learning experience coming up with different ways to present myself in front of the camera. Challenging and fun at the same time...
Here are three taken today. There are more over at my Flickr account...
Here are three taken today. There are more over at my Flickr account...
Wednesday, March 15, 2006
At it again...finally...
Yep, I actually painted today after almost 6 months of little to no studio activity. It's just taken me a while to get back in the swing of things. The thing that was odd about today was that I was having a crappy day mentally. I don't usually like to force myself to paint when I'm not really feeling up to it, but I needed to channel some of that angst somewhere, so painting it was.
As usual, I don't know where this stuff is headed, but the only thing to do is, well, to do it. That's all there is. I'll see where I am when I get there...
......
Here are two paintings that are in progress. I worked on these today. The lighter one is actually covering over another painting from my last series that wasn't very good. I don't know how I even let it out of the studio when I did. I remember having that nagging feeling that it wasn't quite up to my standards, but I let it go out into the world anyway. I got it back from Bridgette a couple of weeks ago and decided today to do away with it...
As usual, I don't know where this stuff is headed, but the only thing to do is, well, to do it. That's all there is. I'll see where I am when I get there...
......
Here are two paintings that are in progress. I worked on these today. The lighter one is actually covering over another painting from my last series that wasn't very good. I don't know how I even let it out of the studio when I did. I remember having that nagging feeling that it wasn't quite up to my standards, but I let it go out into the world anyway. I got it back from Bridgette a couple of weeks ago and decided today to do away with it...
Monday, March 06, 2006
Going national...
Last month, CNN sent a camera crew down from New York to tag along with my gallery rep, Bridgette Mayer for a day. Bridgette is being featured on a segment of Anderson Cooper's show called On The Rise, which focuses on young entrepeneurs who are recognized as leaders in their respective industries.
Anyway, Bridgette brought the crew up to my studio, where we were filmed talking about some of my paintings. I've been told that I'm going to be featured in the piece...how much is up in the air, but 30 seconds or 3 minutes, a lot of people are going to see it regardless, and I hope you can, too. There's also going to be a featured story on CNN's website Thursday, March 9th: http://www.cnn.com/CNN/Programs/anderson.cooper.360/on.the.rise/archive/inde
x.html
If you have cable, Tivo, or whatever, check out Anderson Cooper 360 this coming Wednesday, March 8th, between 10pm and 12 midnight on CNN, you might catch me mumbling something on national tv, *lol* I don't know exactly when the segment will air, so record it if you can so you don't have to sit through the whole program, if you can't.
......
Here's the press release:
FOR IMMEDIATE RELEASE:
Press Contact: Laura Wagner
Bridgette Mayer Gallery
Tel: 215.413.8893 Fax: 215.413.2283
Email: bridgetteart@earthlink.net
Web: HYPERLINK "http://www.mayerartconsultants.com" www.mayerartconsultants.com
BRIDGETTE MAYER OF THE BRIDGETTE MAYER GALLERY, PHILADELPHIA, PA TO BE FEATURED ON CNN’S ANDERSON COOPER 360 ON THE RISE
Bridgette Mayer of the Bridgette Mayer Gallery is pleased to announce that she will be featured during CNN’s Anderson Cooper 360 “On the Rise” airing Wednesday, March 8th 10 – 12 p.m. Eastern Standard Time. A featured story will also be airing on CNN’s website on Thursday, March 9th at: http://www.cnn.com/CNN/Programs/anderson.cooper.360/on.the.rise/archive/index.html
CNN’s program “On the Rise” features successful business owners and entrepreneurs who are recognized trendsetters and rising leaders in their respective industries.
“It is exciting and an honor for me to be featured on CNN. As I get ready to celebrate my fifth year anniversary in business I am more committed than ever in continuing to provide quality programming & exhibitions for the city of Philadelphia, my clients who support me and the artists I represent,” said Mayer.
The gallery was founded in 2001 with the intent to support emerging and mid-career artists and to exhibit original contemporary paintings of the highest quality.
Education also plays a vital role in the gallery’s programming and last spring the gallery presented “Rock-Solid Finance: Building Your Financial Present & Future as a Creative Professional”. This program, held at the Institute of Contemporary Art in Philadelphia, offered financial education to young artists. Most recently, Mayer was a keynote speaker for several events at her alma mater, Bucknell University including “The Business of an Art Gallery and Contemporary Art “ at the Samek Gallery, and “Bright Ideas and Putting Them Into Action” at the Student Leadership Institute.
For additional gallery information including catalogues and images please visit: HYPERLINK "http://www.mayerartconsultants.com" www.mayerartconsultants.com or contact: 215.413.8893
###
Anyway, Bridgette brought the crew up to my studio, where we were filmed talking about some of my paintings. I've been told that I'm going to be featured in the piece...how much is up in the air, but 30 seconds or 3 minutes, a lot of people are going to see it regardless, and I hope you can, too. There's also going to be a featured story on CNN's website Thursday, March 9th: http://www.cnn.com/CNN/Programs/anderson.cooper.360/on.the.rise/archive/inde
x.html
If you have cable, Tivo, or whatever, check out Anderson Cooper 360 this coming Wednesday, March 8th, between 10pm and 12 midnight on CNN, you might catch me mumbling something on national tv, *lol* I don't know exactly when the segment will air, so record it if you can so you don't have to sit through the whole program, if you can't.
......
Here's the press release:
FOR IMMEDIATE RELEASE:
Press Contact: Laura Wagner
Bridgette Mayer Gallery
Tel: 215.413.8893 Fax: 215.413.2283
Email: bridgetteart@earthlink.net
Web: HYPERLINK "http://www.mayerartconsultants.com" www.mayerartconsultants.com
BRIDGETTE MAYER OF THE BRIDGETTE MAYER GALLERY, PHILADELPHIA, PA TO BE FEATURED ON CNN’S ANDERSON COOPER 360 ON THE RISE
Bridgette Mayer of the Bridgette Mayer Gallery is pleased to announce that she will be featured during CNN’s Anderson Cooper 360 “On the Rise” airing Wednesday, March 8th 10 – 12 p.m. Eastern Standard Time. A featured story will also be airing on CNN’s website on Thursday, March 9th at: http://www.cnn.com/CNN/Programs/anderson.cooper.360/on.the.rise/archive/index.html
CNN’s program “On the Rise” features successful business owners and entrepreneurs who are recognized trendsetters and rising leaders in their respective industries.
“It is exciting and an honor for me to be featured on CNN. As I get ready to celebrate my fifth year anniversary in business I am more committed than ever in continuing to provide quality programming & exhibitions for the city of Philadelphia, my clients who support me and the artists I represent,” said Mayer.
The gallery was founded in 2001 with the intent to support emerging and mid-career artists and to exhibit original contemporary paintings of the highest quality.
Education also plays a vital role in the gallery’s programming and last spring the gallery presented “Rock-Solid Finance: Building Your Financial Present & Future as a Creative Professional”. This program, held at the Institute of Contemporary Art in Philadelphia, offered financial education to young artists. Most recently, Mayer was a keynote speaker for several events at her alma mater, Bucknell University including “The Business of an Art Gallery and Contemporary Art “ at the Samek Gallery, and “Bright Ideas and Putting Them Into Action” at the Student Leadership Institute.
For additional gallery information including catalogues and images please visit: HYPERLINK "http://www.mayerartconsultants.com" www.mayerartconsultants.com or contact: 215.413.8893
###
Thursday, February 09, 2006
studio020906
Had a 'prep' day in the studio today. Stretched two canvases and made up a list of things I need from Home Depot, which is where I'm headed tomorrow. While waiting for the canvases to dry between layers of sizing, I decided to take some photos around the studio.
The rest can be seen on my Flickr page here.
The rest can be seen on my Flickr page here.
Tuesday, January 31, 2006
Another World
*This post was originally made on Thursday, January 28th on my Livejournal*:
Yesterday seemed like a day-long episode of the Twilight Zone. First there was the sighting of 'Sly' Stallone in the Italian Market, then yesterday evening, I went with Bridgette to deliver a painting of mine that recently sold to the client's home. Most of the time, people will pick up work from the gallery, but once in a while, she'll deliver the piece(s) herself. She'd called me Tuesday afternoon and asked me if I wanted to go along to meet the purchasers and I said yes. I'm always interested in who is buying my works and where they wind up.
Anyway, this particular client lives in Moorestown, NJ. Bridgette and I drove up, almost got lost, but made it in time to meet the guy and his wife at their place. During the last part of our drive, it's getting darker and the houses are getting bigger...and bigger...and...yeah, you get the idea. The mail boxes are almost half-a-block away from the houses in this particular development. The good thing is that the houses are not the ugly, cookie-cutter homes you normally see in suburban, and increasingly, urban, developements. It also wasn't a gated community. Nonetheless, the 'neighborhood' seemed, well, sterile and cold, and not just from the weather last night. I'm too used to seeing people walk around at night and standing there looking at these places, I couldn't imagine much life happening there, despite the obvious presence of people in their homes. Maybe it was the newness of everything. From the looks of it, these houses haven't been up for long, a few months at the most. The lawns were also a little too green. Hmmm...
At first, we were afraid that we had the wrong place, but luckily, Bridgette's instincts were on target. The wife opened the door, toting one of her young sons and let us in, painting in tow. As expected, the inside was as big as it looked. The husband was in the kitchen and after getting settled, the wife showed us around the house.
It was big, but modest in style and very relfective of the owners. Bridgette and I kept looking at each other every time she showed us room after room. We didn't even make it to the third floor. There wasn't time for that anyway since Bridgette had another meeting last night and the client had a dinner to get to. We chose the best spot for the work and hung it.
I've always wondered who lived in places like this and I got to find out last night. This couple, at least, was very nice and down-to-earth. They're genuinely into collecting contemporary work and very curious. They asked a lot of good questions and aren't into art just for the hell of it. I have gotten to meet other collectors of my work, but most of the time, that was at the gallery. I like connecting with the people who buy my work, but I felt a huge disconnect lifestyle-wise. I couldn't imagine living in a suburban development and having a place that requires having people come in and clean. There's no way they do their own house-keeping in a home that big. Everything was too new, also. I need a good mix of old and new where I live.
Overall, it was a good experience. I liked meeting the couple and they are enjoying the painting and paying for it, so everybody benefits. Below are a couple of shots of the painting after we hung it. Painting info: The Other, 2005, acrylic on canvas, 48" x 60"
Yesterday seemed like a day-long episode of the Twilight Zone. First there was the sighting of 'Sly' Stallone in the Italian Market, then yesterday evening, I went with Bridgette to deliver a painting of mine that recently sold to the client's home. Most of the time, people will pick up work from the gallery, but once in a while, she'll deliver the piece(s) herself. She'd called me Tuesday afternoon and asked me if I wanted to go along to meet the purchasers and I said yes. I'm always interested in who is buying my works and where they wind up.
Anyway, this particular client lives in Moorestown, NJ. Bridgette and I drove up, almost got lost, but made it in time to meet the guy and his wife at their place. During the last part of our drive, it's getting darker and the houses are getting bigger...and bigger...and...yeah, you get the idea. The mail boxes are almost half-a-block away from the houses in this particular development. The good thing is that the houses are not the ugly, cookie-cutter homes you normally see in suburban, and increasingly, urban, developements. It also wasn't a gated community. Nonetheless, the 'neighborhood' seemed, well, sterile and cold, and not just from the weather last night. I'm too used to seeing people walk around at night and standing there looking at these places, I couldn't imagine much life happening there, despite the obvious presence of people in their homes. Maybe it was the newness of everything. From the looks of it, these houses haven't been up for long, a few months at the most. The lawns were also a little too green. Hmmm...
At first, we were afraid that we had the wrong place, but luckily, Bridgette's instincts were on target. The wife opened the door, toting one of her young sons and let us in, painting in tow. As expected, the inside was as big as it looked. The husband was in the kitchen and after getting settled, the wife showed us around the house.
It was big, but modest in style and very relfective of the owners. Bridgette and I kept looking at each other every time she showed us room after room. We didn't even make it to the third floor. There wasn't time for that anyway since Bridgette had another meeting last night and the client had a dinner to get to. We chose the best spot for the work and hung it.
I've always wondered who lived in places like this and I got to find out last night. This couple, at least, was very nice and down-to-earth. They're genuinely into collecting contemporary work and very curious. They asked a lot of good questions and aren't into art just for the hell of it. I have gotten to meet other collectors of my work, but most of the time, that was at the gallery. I like connecting with the people who buy my work, but I felt a huge disconnect lifestyle-wise. I couldn't imagine living in a suburban development and having a place that requires having people come in and clean. There's no way they do their own house-keeping in a home that big. Everything was too new, also. I need a good mix of old and new where I live.
Overall, it was a good experience. I liked meeting the couple and they are enjoying the painting and paying for it, so everybody benefits. Below are a couple of shots of the painting after we hung it. Painting info: The Other, 2005, acrylic on canvas, 48" x 60"
church in fog
I took this just after I got up this morning. The city was blanketed in a heavy fog and the sun was just beginning to peek through the shroud. I looked out my front window and saw that the church in my neighborhood was barely visible even though it's a mere half-block from my house.
I threw on some clothes, climbed out my rear window onto the roof and got a couple of shots before the fog lifted.
I like this one the best out of the few I took. I especially liked the sunlight reflecting off of the cross on the steeple.
I threw on some clothes, climbed out my rear window onto the roof and got a couple of shots before the fog lifted.
I like this one the best out of the few I took. I especially liked the sunlight reflecting off of the cross on the steeple.
Wednesday, January 11, 2006
new year, new toy
It's been a while, but I'm still around. The holidays are over and life is returning to something of a regular pace. I have yet to get back to painting on a regular basis. It's been difficult for me to concentrate on it due to life (and death) happening. I'm brimming with ideas and ready to move on, though.
One thing that made the past couple of months good was the purchase of a digital camera. I'm having a good time figuring out the settings and just taking photos. I've begun a series of sorts recently, using a room at work as my subject. The series is called, 'White Room' There are about 13 so far. I'll be posting them here once a day, I guess. They are numbered, but they'll be out of order. This is the first:
White Room 7
One thing that made the past couple of months good was the purchase of a digital camera. I'm having a good time figuring out the settings and just taking photos. I've begun a series of sorts recently, using a room at work as my subject. The series is called, 'White Room' There are about 13 so far. I'll be posting them here once a day, I guess. They are numbered, but they'll be out of order. This is the first:
White Room 7
Friday, December 16, 2005
picking up steam
Things are beginning to move along and I'm needing to pick up the pace of things a bit. One of the more important items I have to take care of is having some slide dupes made of recent work. I need to have them available to send out for shows and a residency I want to apply for. There's a spring show looming, being curated by Julie Karabenick. It's going to be at Gallery Siano during May and June. The only issue is the essayist needs images of available work really soon and Bridgette has clients looking at some pieces left over from my September show this weekend. So, as usual, things are running on a tight schedule. It'll work out. I won't complain about having this kind of problem.
I also have to increase my studio time to where it was a year ago. It's all coming together, though. Yesterday, I continued working on two new acrylic paintings on panels. A few weeks ago, I purchased a couple of 16" x 16" deep cradle panels from Utrecht. I like them so far and may get some more for the near future just to have something ready to paint on while I prepare some larger canvases to work on. It's just so difficult to concentrate on getting anything done this time of year because of the holiday business. You have to keep a lot of balls in the air at once.
Back to studio time. Even though the last couple of sessions have been short, lasting only about two or three hours at a time, I feel satisfied with the results in the paintings so far. I have to get used to how cold it can get in there. I didn't turn on the heat because I knew I was only going to be in there a short time. I had plenty of layers on and put on my coveralls and hat over everything else. That kept me pretty warm. My fingers were a little chilled, but that was it. I'll pick up some small gloves to work in when I need them.
I also have to increase my studio time to where it was a year ago. It's all coming together, though. Yesterday, I continued working on two new acrylic paintings on panels. A few weeks ago, I purchased a couple of 16" x 16" deep cradle panels from Utrecht. I like them so far and may get some more for the near future just to have something ready to paint on while I prepare some larger canvases to work on. It's just so difficult to concentrate on getting anything done this time of year because of the holiday business. You have to keep a lot of balls in the air at once.
Back to studio time. Even though the last couple of sessions have been short, lasting only about two or three hours at a time, I feel satisfied with the results in the paintings so far. I have to get used to how cold it can get in there. I didn't turn on the heat because I knew I was only going to be in there a short time. I had plenty of layers on and put on my coveralls and hat over everything else. That kept me pretty warm. My fingers were a little chilled, but that was it. I'll pick up some small gloves to work in when I need them.
picking up steam
Things are beginning to move along and I'm needing to pick up the pace of things a bit. One of the more important items I have to take care of is having some slide dupes made of recent work. I need to have them available to send out for shows and a residency I want to apply for. There's a spring show looming, being curated by Julie Karabenick. It's going to be at Gallery Siano during May and June. The only issue is the essayist needs images of available work really soon and Bridgette has clients looking at some pieces left over from my September show this weekend. So, as usual, things are running on a tight schedule. It'll work out. I won't complain about having this kind of problem.
I also have to increase my studio time to where it was a year ago. It's all coming together, though. Yesterday, I continued working on two new acrylic paintings on panels. A few weeks ago, I purchased a couple of 16" x 16" deep cradle panels from Utrecht. I like them so far and may get some more for the near future just to have something ready to paint on while I prepare some larger canvases to work on. It's just so difficult to concentrate on getting anything done this time of year because of the holiday business. You have to keep a lot of balls in the air at once.
Back to studio time. Even though the last couple of sessions have been short, lasting only about two or three hours at a time, I feel satisfied with the results in the paintings so far. I have to get used to how cold it can get in there. I didn't turn on the heat because I knew I was only going to be in there a short time. I had plenty of layers on and put on my coveralls and hat over everything else. That kept me pretty warm. My fingers were a little chilled, but that was it. I'll pick up some small gloves to work in when I need them.
I also have to increase my studio time to where it was a year ago. It's all coming together, though. Yesterday, I continued working on two new acrylic paintings on panels. A few weeks ago, I purchased a couple of 16" x 16" deep cradle panels from Utrecht. I like them so far and may get some more for the near future just to have something ready to paint on while I prepare some larger canvases to work on. It's just so difficult to concentrate on getting anything done this time of year because of the holiday business. You have to keep a lot of balls in the air at once.
Back to studio time. Even though the last couple of sessions have been short, lasting only about two or three hours at a time, I feel satisfied with the results in the paintings so far. I have to get used to how cold it can get in there. I didn't turn on the heat because I knew I was only going to be in there a short time. I had plenty of layers on and put on my coveralls and hat over everything else. That kept me pretty warm. My fingers were a little chilled, but that was it. I'll pick up some small gloves to work in when I need them.
Friday, December 02, 2005
one step...
I worked a total of 2 1/2 hours today. I'm currently working on a couple of deep-cradle panels (16"x16" and 2 1/2" thick) I purchased from Utrecht a couple of weeks ago. Although I worked on a painting recently, I still feel like I'm stumbling along with making new work after the hiatus. I noticed that I picked up a few bad habits, going to bed late being chief among them. I did a lot better last night, but I still didn't get out of the apartment until close to noon. That's not good enough.
Well, anyway, I felt almost at a complete loss today when I finally got up to the studio. The toughest part is just getting started. I have plenty of ideas, but tackling that blank slate is still daunting after a time away. I quickly cleared up that issue by covering both panels with a single color, as I usually do. It was great just watching the brushstrokes accumulate and eventually dominate the pristine white flatness of the panels.
I painted for a while, just getting back into the swing of things. It's going to take a couple of painting sessions before I really feel back in the groove, but I think I'm off to a good start. As long as I get into the studio, something will get done.
Well, anyway, I felt almost at a complete loss today when I finally got up to the studio. The toughest part is just getting started. I have plenty of ideas, but tackling that blank slate is still daunting after a time away. I quickly cleared up that issue by covering both panels with a single color, as I usually do. It was great just watching the brushstrokes accumulate and eventually dominate the pristine white flatness of the panels.
I painted for a while, just getting back into the swing of things. It's going to take a couple of painting sessions before I really feel back in the groove, but I think I'm off to a good start. As long as I get into the studio, something will get done.
Saturday, November 26, 2005
2.19.87
The following is a journal entry I wrote 18 years ago. It appears here just as it was written:
Thurs. Feb. 19, 1987
9:28pm
I may be leaving GNC soon. If I can find another job, that is. I'm getting tired of the long commute from South Philly to Willow Grove. On top of that, I get paid every two weeks and with the money I'm making, it isn't worth the trip. It's definitely time to move on. To what? The main considerations at this point are being paid on a weekly basis and not having to travel so far. And of course a good salary would be nice.
Where is my life headed? Good question. Right now I'm considering a career in art. I know it sounds crazy as shit but that's where my heart is. Looking at it realistically, I know what odds I face in terms of making a living. I'm looking to the possibility of teaching, for a start anyway.
I've tossed the pros and cons of the situation around for a long time and I've decided that the only way to find out firsthand is to get in there and find out what it's like. Who knows it may lead to something great.
......
Reading that passage while flipping through one of my old journals made me smile and laugh out loud. It's the first time I'd written anything about wanting to pursue an artistic career. That's pretty significant because before this passage, I don't think I talked about it to anyone other than my high school art teacher, Richard Segal. Considering that I did take that leap of faith to "find out what it's like" and where that road has led me, I'm more than happy that I committed these thoughts to paper.
Thurs. Feb. 19, 1987
9:28pm
I may be leaving GNC soon. If I can find another job, that is. I'm getting tired of the long commute from South Philly to Willow Grove. On top of that, I get paid every two weeks and with the money I'm making, it isn't worth the trip. It's definitely time to move on. To what? The main considerations at this point are being paid on a weekly basis and not having to travel so far. And of course a good salary would be nice.
Where is my life headed? Good question. Right now I'm considering a career in art. I know it sounds crazy as shit but that's where my heart is. Looking at it realistically, I know what odds I face in terms of making a living. I'm looking to the possibility of teaching, for a start anyway.
I've tossed the pros and cons of the situation around for a long time and I've decided that the only way to find out firsthand is to get in there and find out what it's like. Who knows it may lead to something great.
......
Reading that passage while flipping through one of my old journals made me smile and laugh out loud. It's the first time I'd written anything about wanting to pursue an artistic career. That's pretty significant because before this passage, I don't think I talked about it to anyone other than my high school art teacher, Richard Segal. Considering that I did take that leap of faith to "find out what it's like" and where that road has led me, I'm more than happy that I committed these thoughts to paper.
Friday, November 25, 2005
Sum Of All Parts
I'm heading out to the studio soon to get some work done and deliver a painting to the gallery. There's a group show happening next week, so I'm glad I got something done before the holiday hit. I'm going to work on a couple of small works on panel, also. Bridgette's hanging the new show this Monday.
......
FOR IMMEDIATE RELEASE
November 16, 2005
GROUP SHOW "SUM OF ALL PARTS" - New Works
Philadelphia, PA - The Bridgette Mayer Gallery is pleased to present a group exhibition of new works featuring all Gallery artists. "Sum of All Parts" will run from November 30, 2005 - January 14, 2006 with an opening reception First Friday, December 2nd from 6-8:30 p.m.
Sixteen artists will be featured in the show: Elyce Abrams, Neil Anderson, Allen Bentley, Mark Brosseau, Deborah Caiola, Kate Davis Caldwell, Jean Gaudaire-Thor, Clark Gibson, Robert Godfrey, Dana Hargrove, Chris Lyon, Tim McFarlane, Franck Moëglen, Deirdre Murphy, Rebecca Rutstein, and Alexis Serio. The exhibition will explore the relationship between the forms, themes, and techniques of this diverse range of contemporary artists.
Thirteen artists will exhibit new paintings. Clark Gibson will show works that survey the components of urban structure through abstraction. Tim McFarlane will also contribute paintings that explore the urban environment; abstracted grid systems reminiscent of maps and city architecture. Neil Anderson will show work of more traditional abstraction as he investigates the elements of painting - color, texture, and surface.
Deirdre Murphy's paintings move between abstraction and realism to express nature within an urban space. Franck Moëglen also works through representation and abstraction. He modifies common signs and symbols with layers of paint until the image becomes as diffuse and immaterial as a memory. Evidence of memory is also crucial to the work of Alexis Serio who will be exhibiting a large landscape painting. Serio examines the memory of landscape and movement of light through representation and abstraction.
Mark Brosseau will show work which investigates space in a different sense, focusing on the movement, experience and 'visual play' of painting. Jean Gaudaire-Thor also investigates abstract painting as an outlet for visual play. Inspired by primitive art his paintings express the diversity of the human experience.
Two artists explore relationships through more representational means. Robert Godfrey's bold paintings of lovers are indulgent in gesture and celebrate the rituals and mythology of relationships. Allen Bentley paints the small conflicts and reconciliations of human interaction with a palate of vibrant colors and images of lively dancers.
Deborah Caiola also paints figures, but explores portraiture from a background of anthropology. She expresses the unique personalities of her subjects while also investigating the broader issue of an individual's place in society. Dana Hargrove also examines, with more abstract colors and forms, how the individual functions within the community. She studies the processes of disconnection and reconnection.
Elyce Abrams and Kate Davis Caldwell will both be exhibiting work recently completed through the Vermont Studio Center Residency program. Abrams explores elements of everyday life through an abstract vocabulary of marks, colors, drips, and forms. Davis Caldwell recreates forgotten histories by placing vintage images within a new context of painted forms and organic landscapes.
Chris Lyon and Rebecca Rutstein will both be exhibiting drawings and works on paper. Lyon will show a large charcoal drawing flickering with the suggestion of human bodies and interactions. Rutstein incorporates themes of geology and interpersonal relationships in her work and will be showing a series of graphite drawings.
An animated video by Brooke Steytler entitled 'Factory Man' will also be on view in the Gallery's vault room.
"Sum of All Parts" will run through January 14, 2006. The artist's will be present at the opening reception Friday, December 2nd from 6:00 - 8:30 p.m. Gallery hours are Tuesday - Saturday 11-5:30, other days by appointment. For additional information please contact Bridgette Mayer, 215.413.8893 Fax 215.413.2283
......
FOR IMMEDIATE RELEASE
November 16, 2005
GROUP SHOW "SUM OF ALL PARTS" - New Works
Philadelphia, PA - The Bridgette Mayer Gallery is pleased to present a group exhibition of new works featuring all Gallery artists. "Sum of All Parts" will run from November 30, 2005 - January 14, 2006 with an opening reception First Friday, December 2nd from 6-8:30 p.m.
Sixteen artists will be featured in the show: Elyce Abrams, Neil Anderson, Allen Bentley, Mark Brosseau, Deborah Caiola, Kate Davis Caldwell, Jean Gaudaire-Thor, Clark Gibson, Robert Godfrey, Dana Hargrove, Chris Lyon, Tim McFarlane, Franck Moëglen, Deirdre Murphy, Rebecca Rutstein, and Alexis Serio. The exhibition will explore the relationship between the forms, themes, and techniques of this diverse range of contemporary artists.
Thirteen artists will exhibit new paintings. Clark Gibson will show works that survey the components of urban structure through abstraction. Tim McFarlane will also contribute paintings that explore the urban environment; abstracted grid systems reminiscent of maps and city architecture. Neil Anderson will show work of more traditional abstraction as he investigates the elements of painting - color, texture, and surface.
Deirdre Murphy's paintings move between abstraction and realism to express nature within an urban space. Franck Moëglen also works through representation and abstraction. He modifies common signs and symbols with layers of paint until the image becomes as diffuse and immaterial as a memory. Evidence of memory is also crucial to the work of Alexis Serio who will be exhibiting a large landscape painting. Serio examines the memory of landscape and movement of light through representation and abstraction.
Mark Brosseau will show work which investigates space in a different sense, focusing on the movement, experience and 'visual play' of painting. Jean Gaudaire-Thor also investigates abstract painting as an outlet for visual play. Inspired by primitive art his paintings express the diversity of the human experience.
Two artists explore relationships through more representational means. Robert Godfrey's bold paintings of lovers are indulgent in gesture and celebrate the rituals and mythology of relationships. Allen Bentley paints the small conflicts and reconciliations of human interaction with a palate of vibrant colors and images of lively dancers.
Deborah Caiola also paints figures, but explores portraiture from a background of anthropology. She expresses the unique personalities of her subjects while also investigating the broader issue of an individual's place in society. Dana Hargrove also examines, with more abstract colors and forms, how the individual functions within the community. She studies the processes of disconnection and reconnection.
Elyce Abrams and Kate Davis Caldwell will both be exhibiting work recently completed through the Vermont Studio Center Residency program. Abrams explores elements of everyday life through an abstract vocabulary of marks, colors, drips, and forms. Davis Caldwell recreates forgotten histories by placing vintage images within a new context of painted forms and organic landscapes.
Chris Lyon and Rebecca Rutstein will both be exhibiting drawings and works on paper. Lyon will show a large charcoal drawing flickering with the suggestion of human bodies and interactions. Rutstein incorporates themes of geology and interpersonal relationships in her work and will be showing a series of graphite drawings.
An animated video by Brooke Steytler entitled 'Factory Man' will also be on view in the Gallery's vault room.
"Sum of All Parts" will run through January 14, 2006. The artist's will be present at the opening reception Friday, December 2nd from 6:00 - 8:30 p.m. Gallery hours are Tuesday - Saturday 11-5:30, other days by appointment. For additional information please contact Bridgette Mayer, 215.413.8893 Fax 215.413.2283
Tuesday, November 22, 2005
Green, again...
I can tell that I'm really coming out of my artistic 'down time'. At work, I have moments where I can relax for a bit between customer calls, employee needs, and figuring out how to deal with whatever has broken this time. I had one some time today, outside of lunch, where I was able to grab my sketchbook out of my bag and doodle a bit. I did a few thumbnail sketches of possible compositional ideas in square and rectangular formats. That's what I do in my sketchbooks for the most part. I also write in them, but for the most part, page after page is filled with squares and rectangles full of off-the-cuff painting ideas. So, today's little five minute sketch session was accompanied by a mental, "Yeah, I'm ready to work again".
......
I was in the office at one of the desks that all the managers share. I plopped down into the gray, cushioned chair that's been darkened by years of use. I took my sketchbook out of the bag and glanced at the last day I'd done anything in it. The date in the upper left-hand corner read: 9.20.05. That's just over two months ago and during the last week of my show. That was the day that I decided to jot down any ideas I had for a possible series of paintings. To the left of the date was this: A SERIES OF PREDOMINANTLY GREEN PAINTINGS. I tend to use all upper-case lettering when I write with a sharpie(ultra-fine point). If I try to write in cursive long-hand with them, it just looks like a mess and I sometimes have a hard time deciphering what I just wrote) Note: See this entry for earlier discussion of this idea
I also made a list to go along with the 'green paintings' sentence. I wrote down all of the words that came to me within a few minutes that have some association with the word 'green':
LUSH
LIFE
GROWTH
SUN
FOREST
GARDEN
JUNGLE
OASIS
SHELTER
WILD
GRASS
PLANTS
FLOWERS
LEAVES
TREES
VINES
IVY
SOIL
WATER
There was a second column, but this illustrates the idea well enough.
I'd been thinking about a 'green' project for a while before committing this list to paper. A few of the paintings that I'd worked on for the September show had various greens worked into the final images. I gained an affinity for the greens I'd mixed and thought that it would be interesting to try making near monochromatic paintings based around 'green'. I'm still considering it and as soon as I pick up more supplies, I'll get to work on it. If it doesn't work out, I'll just move on to the next idea I have. Oh, yes, there are more...
I think I like the color so much because it reminds me of life and growth. I'm surrounded by plants in my living space and, despite being a hard-core city person, I love the outdoors; forests, hiking, trees, grass, all of it. I can continue to explore the loose grid imagery I've been working on over the past year and I can work on some more minimal pieces as well. Now that I have a basic theme, I can dive into painting and have something to challenge myself with again.
......
I was in the office at one of the desks that all the managers share. I plopped down into the gray, cushioned chair that's been darkened by years of use. I took my sketchbook out of the bag and glanced at the last day I'd done anything in it. The date in the upper left-hand corner read: 9.20.05. That's just over two months ago and during the last week of my show. That was the day that I decided to jot down any ideas I had for a possible series of paintings. To the left of the date was this: A SERIES OF PREDOMINANTLY GREEN PAINTINGS. I tend to use all upper-case lettering when I write with a sharpie(ultra-fine point). If I try to write in cursive long-hand with them, it just looks like a mess and I sometimes have a hard time deciphering what I just wrote) Note: See this entry for earlier discussion of this idea
I also made a list to go along with the 'green paintings' sentence. I wrote down all of the words that came to me within a few minutes that have some association with the word 'green':
LUSH
LIFE
GROWTH
SUN
FOREST
GARDEN
JUNGLE
OASIS
SHELTER
WILD
GRASS
PLANTS
FLOWERS
LEAVES
TREES
VINES
IVY
SOIL
WATER
There was a second column, but this illustrates the idea well enough.
I'd been thinking about a 'green' project for a while before committing this list to paper. A few of the paintings that I'd worked on for the September show had various greens worked into the final images. I gained an affinity for the greens I'd mixed and thought that it would be interesting to try making near monochromatic paintings based around 'green'. I'm still considering it and as soon as I pick up more supplies, I'll get to work on it. If it doesn't work out, I'll just move on to the next idea I have. Oh, yes, there are more...
I think I like the color so much because it reminds me of life and growth. I'm surrounded by plants in my living space and, despite being a hard-core city person, I love the outdoors; forests, hiking, trees, grass, all of it. I can continue to explore the loose grid imagery I've been working on over the past year and I can work on some more minimal pieces as well. Now that I have a basic theme, I can dive into painting and have something to challenge myself with again.
Friday, November 18, 2005
give and take
I'm reminded of just how good I have it when I talk to people about my art life. I'm living the dream that so many have, namely, being able to do what your heart desires. Choosing to continue with a creative life isn't always easy, nor always fun, but I can't think of anything else that I'd be as enthusiastic about working at. It's the one area of my life where I derive the most pleasure and happiness from. I never feel so alive as when I'm in the midst of painting or doing something else creative. Even if what I'm working on is turning out to be complete shit, I still experience an intensity of feeling that I don't really experience in other areas of my life.
The feelings are often indescribable. I've told friends that even though I don't smoke, there have been times when I've been so caught up in what I'm doing that I feel like I need to smoke or do something to disperse some of the energy that builds up during a painting session. The intensity of focus is what causes that reaction. I can feel the adrenaline rushing through me when I'm really caught up in a painting. Sometimes, it can feel like having sex, at others, more like being in a physical competition against others or the clock. The only difference with me is that most of the activity is taking place mentally. The physical component of painting, for me, isn't that dramatic. At times, it is, but there's a more measured mix of the mental and physical for me as a painting develops. I know I'm much more physically engaged in how I apply paint and other materials in the begining of a work than later on.
The point at which the mental begins taking precidence over the physical is never the same, but it does occur. There's a point where I scrutinize the formal decisions about color, compostition, forms, etc... much more intensely than when I started the piece. At what point in the process this occurs is different every time, but it always happens. I usually refer to that point as when "the painting begins to tell me where it wants to go". Every painting has it's own life. While I might start off with a general idea of what I want to do and achieve, there's always a point where a dialogue begins to take shape; there's more of a 'push/pull' relationship happening between myself and what's going on with the images and forms on the canvas.
It's give and take, as is the ideal in other areas of life. Every decision or mark I make on the canvas affects everything else I've previously done and what comes after.
The feelings are often indescribable. I've told friends that even though I don't smoke, there have been times when I've been so caught up in what I'm doing that I feel like I need to smoke or do something to disperse some of the energy that builds up during a painting session. The intensity of focus is what causes that reaction. I can feel the adrenaline rushing through me when I'm really caught up in a painting. Sometimes, it can feel like having sex, at others, more like being in a physical competition against others or the clock. The only difference with me is that most of the activity is taking place mentally. The physical component of painting, for me, isn't that dramatic. At times, it is, but there's a more measured mix of the mental and physical for me as a painting develops. I know I'm much more physically engaged in how I apply paint and other materials in the begining of a work than later on.
The point at which the mental begins taking precidence over the physical is never the same, but it does occur. There's a point where I scrutinize the formal decisions about color, compostition, forms, etc... much more intensely than when I started the piece. At what point in the process this occurs is different every time, but it always happens. I usually refer to that point as when "the painting begins to tell me where it wants to go". Every painting has it's own life. While I might start off with a general idea of what I want to do and achieve, there's always a point where a dialogue begins to take shape; there's more of a 'push/pull' relationship happening between myself and what's going on with the images and forms on the canvas.
It's give and take, as is the ideal in other areas of life. Every decision or mark I make on the canvas affects everything else I've previously done and what comes after.
Tuesday, November 08, 2005
getting back to it
I'm returning to work in the studio this week. I feel that it's time to move on with some new work, plus, I really have the itch to create again. The past few weeks of 'exhibition recovery' have been really good for me. There were plenty of times when I thought I should have been in there painting away, but to tell the truth, that was just me feeling guilty for not wanting to be in there at all.
One of my challenges in life is maintaining some sort of balance between my social/personal life and my art life. The two meet often, but usually, one suffers when I attempt to bolster the other. In recent weeks, I've taken on expanding my social circle a bit by becoming acquainted with new people and actually spending time having face-to-face conversations, going to dinner parties, and making time to spend with the friends I already have, as well. I'm enjoying this time, because I know that once I begin painting regularly again, people won't be able to find me so readily. Even though I have a cell-phone, I can keep it turned off until I'm ready to talk. I refuse to become a slave to it.
I love painting and being creative, in general, but I also have a need to make sure I stay connected to people, as well. There are and will continue to be times when I hole up in the studio and will rarely go out, it's inevitable. The trick is adapting and continuing to find ways to have something of a balance between the demands of my art marriage and everyone else in my life. Art is a jealous mistress, there's no doubt about it. Most of the time I'll go along with her demands, but even she has to be ignored sometimes.
One of my challenges in life is maintaining some sort of balance between my social/personal life and my art life. The two meet often, but usually, one suffers when I attempt to bolster the other. In recent weeks, I've taken on expanding my social circle a bit by becoming acquainted with new people and actually spending time having face-to-face conversations, going to dinner parties, and making time to spend with the friends I already have, as well. I'm enjoying this time, because I know that once I begin painting regularly again, people won't be able to find me so readily. Even though I have a cell-phone, I can keep it turned off until I'm ready to talk. I refuse to become a slave to it.
I love painting and being creative, in general, but I also have a need to make sure I stay connected to people, as well. There are and will continue to be times when I hole up in the studio and will rarely go out, it's inevitable. The trick is adapting and continuing to find ways to have something of a balance between the demands of my art marriage and everyone else in my life. Art is a jealous mistress, there's no doubt about it. Most of the time I'll go along with her demands, but even she has to be ignored sometimes.
Friday, October 28, 2005
new pics
I have some new pics uploaded that were taken by Chris Ashley when he visited earlier in the month. There are more from this set here
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