A few years ago the gracious Anna Mish, Director at Caton Merchant Family Gallery in Manassas, Virginia, favored me with a solo exhibit at her wonderful space in this charming and historic town. Reprising here some scenes from that show, “Outliers.”
One of three paintings in a series, Corrected Vision #2 relates to how we see the world and how the world sees us. There is more than what is known through the eye. Body language, scent, gentleness or violence all inform the real person behind the facade.
The great George Bridgman of the Art Students’ League in New York asserted, “The difference in drawing is in what you sense, not what you see. There is other than that which lies on the surface.” While Bridgman no doubt referred to musculature and skeletal structure, I expand the interpretation of his comments to mean the substance of who we are – our heart and soul.
I know some say the eyes are the windows to the soul, but I like to think that our minds — our ability to feel and connect — really count.
Getting a workout painting this 72″ x 84″ canvas. Up and down on the step ladder, mixing large batches of paint, and wielding wide brushes — all part of a vigorous day. When finished, this piece will form a key visual element in my upcoming solo at Delaplaine Visual Arts Education Center, Frederick, MD. The main gallery space is huge, with high ceilings to easily accommodate this big boy.
Hope you can see the completed painting and join us for the opening reception on September 5, 2015, 3-5 pm. Exhibit dates September 5-27.
I am represented by Susan Calloway Fine Arts in Washington, DC.
In focusing on figurative paintings, I have been hinting primarily at emotions largely hidden in real life. This theme involves depicting what is felt rather than what is seen. In this new work the subject has been caught in a private moment of personal awareness. He claims his space, but remains alert. There and not there.
Inner/Outer, the title for my upcoming exhibition at Susan Calloway Fine Arts in Washington, DC, will feature this painting. It exemplifies the tone of the show. While distinct, each canvas suggests a kind of chaos which has just occurred, which could occur, or which is occurring. The outer facade may appear calm and controlled, yet the inner reality seethes with passion – courage, tenacity, rage, confusion, vulnerability, etc. Is that what it means to be human?
Think this piece, 48″x48″, is finished. I like the mono-colored look and the horizontal strokes used for the background. Something different.
They say it takes two people to make an artwork: one to paint and the other to say when to stop. The process can be an interesting conundrum. It’s easy to constantly tweak, fix and improve, but the risk entails overworking an artwork to the point of weariness that was meant to be fresh and vital. Much better overall to try something new. Just go for it. Just own it.
These new paintings are meant to complement Corrected Vision, now on exhibit through August 1 at McLean Project for the Arts (MPA) in its curated and juried exhibit “Strictly Painting.” Curated by senior curator for modern and contemporary art at The Phillips Collection.
If you miss the MPA show, some or all of these will be in my solo exhibit in September at Susan Calloway Fine Arts, Georgetown.
I like the idea of playing with an idea and carrying it further. Kind of like expressing a different tone or meaning of the same subject matter. For these paintings, the subject revolves around one idea: young or old, it’s easy to develop a blind spot. Maybe that’s called survival. Maybe denial.
McLean Project for the Arts
1234 Ingleside Avenue McLean VA 22101 phone 703.790.1953 http://www.mpaart.org