On behalf of Deidre Prosen and myself, we are extremely honored by receiving the Puffin Foundation's Artist Grant for "The Self and Society" project. We look forward to representing the Foundation's mission by engaging the public though out socially-centered paintings and installations. to learn more about "The Self and Society" please visit: www.theselfandsociety.weebly.com.
It Sickens me but I can possibly meet you half-way,
In this post I will to shed insight towards the major motif in my digital work: the recurring grid.
In modernism, the grid emerged in the DeStijl movement by Piet Mondrian and Theo Van Doesburg. Their utopian model of minimal form (basic lines and RYB) was the starting point for my own work. My approach to minimalism began when learning Adobe Photoshop. Through the program I became familiar with the additive (RBG) and subtractive (CMY) color models. Without the desire to manipulate representation, I instead was fascinated by controlling the spectrum of vibrant colors on my screen. The program allowed me to effortlessly grid color in perfect alignment with hard-edges.
As my understanding for my work expanded so did the influential artists I considered. Primarily, I referenced the gamut of Color Field painters and their contributions to non-objective and formal analysis of color. Furthermore, I consider Chuck Close and Gerhard Richter and their use of the grid and conceptual processes for photorealism or color counting. The redundant process of photorealism of transferring photos to canvas influenced this painting which converts a screen image into a labor-intensive oil painting.
On Graber and Benson:
Michelle Grabner's plaid paintings and paper-weavings were my main influence for adding the Adobe default checkered background to my work. Before the checkered grid, my digital designs were placed on either a plain white or grey background. The checkered pattern added aesthetic and conceptual qualities that self-referenced Adobe and pixel rendering. As a Midwest figurehead, Grabner's gridded abstractions (referencing picnic table cloth and other textiles) delve into personal associations involving family. The subject of my work is much less personal and involves additive color theory within stale arrangements of digital austerity.
Trudy Benson's work primarily references early software programs MS paint and Mac Paint. Akin to these programs her back-and-forth process involving lines and fills of spray paint, color fields, and whole tubes of paint is radically expressionistic. One could call it generational, but Benson’s claim to MS Paint or Mac Paint is similar to my signature of Adobe. This difference is seen in Benson's use of gestural chaos versus the my analytical and perfectly aligned arrangements. Nonetheless, we, as well as many other contemporaries, meet in the commonplace of finding a voice in the digital era.
This satirical work, Nude Ascending an Escalator, represents the modern progression of the female figure degraded by the male artist. The work affirms the concept of a disturbed male gaze resulting in a crude mix of abstraction and misogyny.
Depictions of the female figure are referenced from artists (right to left): Gerome, Matisse, Picasso, DeKooning, Duchamp, Prince, with final image drawn from Hunt.
The climax of Nude Ascending an Escalator is a summative figure by Hunt. The woman's actual figure has been removed leaving only superficial objects of heels, dress, and cigarette. The figure concludes man's manipulation and degradation of the woman figure has reduced it to mere to materialism and sexual desire.
The work, Tumors, illustrates negative impacts of over-consumption and pollution on our eco-system. Tumors consists of a collection of mixed media assemblages/ tumors built from materials that would otherwise be discarded.
The work's title, "Tumors", is a representation that the earth's health is being comprised by pollution and over-consumption serving as its 'cancer'. The intent of this installation is to promote environmental awareness and stewardship regarding the urgency to curb our collective footprint to ensure future environmental sustainability.
Tumors further comments art-making as a cause of negative impacts on the environment as each assemblage is comprised of discarded art materials (used paint-tubes, painters rags, latex gloves).
The mundane citations in Footnotes are as personal as tombstones with final hyphens referencing the artists against human temporality.
Primarily influenced by the joke paintings by Richard Prince and movie quotes of Christopher Wool, this work is an extension of current texts used in contemporary painting. With the claim of art as description, the use of text in this work is redundant placed aside a gallery label. Additionally, similar to hyperrealism's relation to the camera, the hand-painted letters in Footnotes are excruciating compared to what is effortlessly generated with a few clicks on a keyboard.
Excited for a upcoming group show in NY that will contain 4 cyanotypes from my Post-War Presidents Project. At the end of 2014 the series was displayed at Rouge Community College in Grants Pass Oregon and at the University of Wisconsin-Fox Valley in 2012. If you are in New York in January or February stop by to check out the show. Pictures to come after the opening.
Wiseman Gallery is currently displaying two works from my Post-War Presidents Project in their "The Subject is War" Group Show. Wiseman Gallery is in Grants Pass, Oregon and the show will be on exhibit November 5- December 10.
Works within Archive III include primary works from "The Self and Society" and continued explorations in computer generated works exploring themes of pattern and perfection, art criticism, and formalism within non-physical images. Click here for News Archive III.
This archive is a timeline from a variety of projects including The Milwaukee and Wisconsin State Flag project, Plastic Mind, refined color theory, and artistic consumerism. Click here for News Archive II.
Archived articles and images from when I first started the website in fall 2011 to fall 2013. This archive is a timeline from a variety of projects including Post-War Presidentital and Pop Portraits, Color Theory, and American Landscapes. Click here for News Archive I.