As what had been a very delightful sanctuary becomes barren and littered with bubble wrap and pugs , I wanted to make one last post from my creative home of the last two years. Although eager to settle into larger digs, I will miss this place (particularly its excellent air-conditioning ).
This is proving to be a busy moment in my life. The movers arrive this Saturday and that evening I have an opening , Satan’s Ball, a perennial favorite -I have five pieces in that show. I may be pooped after the move but looking forward to being part of the festivities at Art Share LA. Then my solo show Fairyland July 8th. Frantic, daunting, exciting.
I was delighted to be notified that my drawing The Rape of Our Mother had been accepted into the Brand 45 Annual National Exhibition of Works on Paper. I was particularly excited because the juror was Leslie Jones, Curator of Prints and Drawings at LACMA- my submissions were unmistakably drawings in that old fashioned way and I having her validation was important to me.
I had failed to mention that my painting Hadesville won 3rd Best of Exhibition at CEDARFEST 32, at the Lancaster Museum of Art and History, Lancaster, CA.
I was beaming with a goofy grin.
The day after the award ceremony Facebook rather magically reminded me of what the painting looked like a year ago.
This “memory” popped up.
And a year later:
Packing has produced some novel still lives that I am eager to figure into compositions for new paintings, this being the most successful :
I’m at the end of my packing , I receive the keys to the new studio tomorrow morning. Much more to do but very eager to get back to work, be it stitching, drawing or painting, perhaps a relief print of two as well.
My love of the baroque (and the subsequent revivals) is long standing, so much so that I built my previous career as a decorative painter identifying my craft as Neo-Baroque. As a studio painter I still find the allure of the baroque irresistible and in my latest work Reflection of a Harsh Super Ego , I attempted to capture the florid excess of the period.
This work is an extension of my “stuffed painting” series which constitutes a large part of my latest body of work Fairyland. Ostensibly this latest piece is a reflection upon such cheery topics as existential angst, mortality, self-worth/esteem and of course, aging. It is also hopefully funny, a memento mori with wit.
Utilizing fabric allows me to explore the funeral lushness found in over- upholstered baroque furnishings, particularly the decidedly non cozy state beds:
Daniel Marot, the designer of the state bed above was a master of baroque theatricality. His designs for court furnishings are astounding , so inventive, whirling madness yet an underlying balance. I can easily stare at his compositions for hours, and I have. My aforementioned decorative work was directly influenced by Marot and his contemporary Jean Berain.
So it was of little surprise that I would return to the wonderful fripperies of Marot and Berain. I particularly admire the baroque compositions that incorporate a writhing pool of figures, sensuously colliding with one another yet all forming a cartouche, a mirror frame or cabinet. The mad fusion of sculpture, ornament and perhaps some functionality.
My fripperies and atlantes may not be of ormolu, ivory or silk but they are roiling about in a nutty baroque manner.
In his excellent Baroque Baroque , the art historian Stephen Calloway refers to a British baroque revival as “bugger’s baroque”, apparently a witty retort to queen-ish decorative excess. I like to think my “mirror” might have earned that title. Being that The Reflection of a Harsh Super Ego is a further exploration of “sissy” arts, and an element of a larger body of work called Fairyland, I think it has earned that distinction.
Reflection of a Harsh Super Ego will be part of an upcoming solo show at Ave.50 Gallery, 131 N. Avenue 50, Los Angeles, CA 90042
I finished this painting several weeks ago, but needed to step away from it a bit, literally and figuratively. It is a large painting and that is the direction I would like to take with my studio practice. This painting is in many ways the impetus for my moving studios. I’ve simply run out of room at my charming current studio.
But this has been a long journey, nearly two years, from bringing what had been a seemingly simple response to Christina Rossetti’s incredible poem of the same name, a simple pencil sketch, to this large canvas.
Before heading off for Philadelphia in the summer of 2015 I made this sketch, dashed it off really.
I was entering a summer program at the Pennsylvania Academy of Fine Arts and I hadn’t really any concept of how to focus my time. Materials needed to be shipped and I felt overwhelmed logistically. Plus I suffer emotionally from being separated from David and the pups.
I’ve posted before about the PAFA critique program, at times bitterly, but in hindsight I realize how unprepared for the experience I actually was. I now feel, a few years later, that I could approach the experience with more confidence and intentionality (is that a word??).
Perhaps some other summer.
Without a real game plan I decided pretty much on board the plane that Goblin Market was to be my next project for the summer. Part of what I had hoped for with the critique program was to loosen up mentally and creatively, and my little sketch , which I had so enjoyed drawing, would launch me in the right direction. Or so I hoped.
The following are some sequential images of its making.
I pause here because this is where strife began between me and the program director , she insisting that this was a finished work, and I insisting it wasn’t. I envisioned a more polished painting and she wished to “free” me from what she perceived were constraints . Again, in hindsight, I feel I could now express my intentions with more clarity, but at the time I felt crushed and confused.
I persevered but warily.
This image is where I left it at PAFA, unable to finish , I rolled it up, threw it on the plane and allowed it to languish in my studio. I tried avoiding it frankly. Then, in 2017 I decided I needed to face the painting once again.
I’ve tweaked it a bit since this next image, but I now believe it to be finished…for now.
I have a solo show coming up in July, its a small show ( Goblin Market will most likely make its debut), a gallery within a showroom I enjoy showing in. I am excited. It is my first solo show and in many ways it is a clarifying experience.
I’m grappling with what I want to say as an artist and as a person . What is my contribution in this dialogue of life. The window we are given is open ever so briefly, and as I feel I have only just recently entered into myself, I desire to do so fully.
My show will be called “Fairyland”. It is a concept I wish to explore in depth; I will be putting together more extensive proposals for other solo shows, so this show in July is the model.
The following is a revised statement for “Fairyland”:
“At this stage of my life, off center of a century, I am grappling with ways in which to express my “being-ness”. Unable to avoid the “who am I “ question any longer, I find myself ,as a visual artists reaching beyond my usual studio practice of oil painting into diverse disciplines including figures in the round.The figures are essentially dolls, and are fashioned by fully embracing the pre-conceived sissy element of this art. It is in this extension of my practice that I am exploring, at this late stage, my identity as a queer and terrified man; the specter of the pansy boy I was, being given new voice in my latest ongoing project “Fairyland”. It is in this new series of projects , where paint, needle and thread give expression and validation to a long suppressed self loathing.
The very name “Fairyland”, a word once delivered with bloody blows transcends beyond with a message of empathy, compassion. pride, and I hope , humor. Reclaiming the fairy has been empowering. The art I attempt to create is intended to express the spirit of furtive repression breaking free.”
June is proving to be a whirlwind month for me, four group shows this month, plus I am preparing for a solo show in July AND a studio move!
The following are the shows are lined up for June.
These are good problems to have!
Los Angeles Art Association & the City of West Hollywood are proud to announce Out There, a very special exhibition celebrating the LGBT experience during West Hollywood’s Pride Month festivities at Gallery 825.
In its 10th year, Out There is a key feature of Pride weekend, an annual event that attracts nearly half a million visitors to West Hollywood. Out There was juried by William Escalera and Francisco George and opens at Gallery 825 on Friday, June 9 and runs through June 16, 2017.
When: Reception – Friday, June 9, 6 to 9p
(runs through June 16, 2017)
Where: Gallery 825, 825 N. La Cienega Boulevard, Los Angeles, CA 90069
Crossing Boundaries:Engendering LGBTQ Identities
In celebration of Pride month across the nation, the Avenue 50 Studio takes great pleasure in announcing our upcoming exhibition in which the works of our LGBTQ artists are honored.
Featured artists include: Alex Constant, Ambre Aki Gonzales, Christopher Velasco, Efrain Torres, German Rubio, James Grey, Juan Solis, Leonard D Greco, Miles Hochhalter Lewis, Noel Alumit, Nora Rohman, Roberto Benavidez, Tiffany Syas, Wren Warner
CEDARFEST:32nd Annual Juried Arts Festival , jurors Nicolas Shake and Robin Rosenthal
Opening June 17th, 6-8 pm, show runs June 17- August 5 2017, MOAH:CEDAR 44857 Cedar Ave., Lancaster CA 93534
A beloved and feared instant summertime classic, this year’s Satan’s Ball is a powerful, cheeky, unapologetic embrace of the dangers, demons, burdens, and temptations that beckon to the more sinful angels of our nature with the promise of magic, mystery, spells and shadows.
As I mentioned, I am also planning a move to a new and larger studio. Exciting but daunting, here are a few snaps of the place . The current tenant hadn’t yet moved out on the day the husband and I checked it out. We were both pleased with the northern light and sense of space.