Blog Post

Answering the hard questions

This is a two part post, for information on the show that this piece is headed to, click here.

As I am finishing up the third piece in this series, I’m settling into a good rhythm. The paintings are starting to happen pretty easily, and (I think) they are looking really good. The latest piece is being send out to a great show, and I even have something scheduled that will allow me to hang a larger group of them together (more on that soon). There is really just one problem. I have not figured out a graceful way to explain exactly what it is I have been working on. And that really is a big problem.

People are always curious about artists, and what exactly it is that they do all day. So once you admit to being an artist, you tend to get a lot of questions. They generally start out tentatively, there are a lot of wingnuts out there claiming to be artists, after all. They will ask what your real job is, or maybe they will wonder who exactly would buy an art in this day and age. But once they have felt out the situation a bit, they will almost certainly ask; what kind of art do you make?

When I am faced with this question, I generally respond by glancing towards the ground, and mumbling something about portraits. If it is not already obvious to everyone reading this, that is the wrong answer.

I am not sure how aware the models are of this, but each one of these paintings really is a collaborative effort. The women that are helping with these paintings are setting off without any real direction from me. They have their own ideas about what this kind of sexy image looks like. They are not necessarily professional models, they are not people who are used to making a public display of their private moments; and they have to decide what their line is. Where does a bit of naughty fun, turn into a regret? Where does helping create this painting turn into an uncomfortable public display? I am not there to help make these decisions; and let’s be honest, if I was I would probably just push for more.

And really, this is what makes these painting work. Sure, they are just playing a role. Sure, they are only doing this because I wanted to make some paintings. But really, while the situation is obviously arranged for the sake of art, the decisions being made are real. Not only are the decisions real, but I am hanging their portrait right there, I’m asking them to own the decision.

As the father of a baby girl, I am involved a lot of new baby parenting small talk. Inevitably, this involves fielding a lot of questions about her future dating habits, and how I will scare off her future boyfriends (spoiler alert, I am not sure it is possible for me to be any less worried, and I doubt I will be scaring anyone). Now, I am not mentioning this because I find it particularly egregious. But it has given me a renewed awareness that I really am asking a lot from my models. I am only asking them to play a part in a painted story, but we live in a world where that can lead to some real world judgement and consequences.

When it comes to the power of any individual piece of art, I am not really a true believer. Art can affect people, it can be beautiful and powerful, but no piece of art is going to change the world. So I am not going to try to convince anyone that sitting down and writing this, or making these paintings is going to make the world a better (or worse) place. But I do believe that when you see something is wrong, you should stand up and speak. So really, if I am asking people to put themselves out there for my paintings, I damn well better be prepared to stand up and own my part in the whole process. I better be ready to tell the story, to defend the pieces. At the very least, I better be ready to explain the basics of the project.

So, as I am preparing to send the latest piece in this series off to Miami for an exhibition, I am preparing to discuss the painting in a more meaningful way. In order to do that, I have been trying to come up with an answer to one important question.

How would you feel, what would you do, if it was your daughter sending these sort of images, or participating in this kind of project?

And for a long time, I did not have a good answer for that. But I have realized that I don’t need an answer for that question. There is no question in my mind, that one day she will grow up and do things that (as her parent) I am going to be worried about. She is going to grow up, go on dates, get drunk, have sex, do all things that most grown up people do. So the question for me, is not how would I feel if she grows up to be the kind of girl that sends naughty text messages. The question should be; when she is going through the normal course of growing up and dating, if something goes wrong, do I really want her to feel ashamed? And for me, the answer to that question is obvious.

So I am preparing myself to face these questions head on, and to do my small part in pushing things in the right direction.

Portrait From Web, Portrait From Life (3)

See the latest painting from this series in December at Sirona Fine Art in Florida, more info in this post. For those of you that are with me here in Boston, I have a local show in the works featuring these paintings, so keep your eyes open for that.

Blog Post

From a Different Point of View.

While I have been fortunate enough to hang my paintings in a lot of great shows, until recently, I have not had the opportunity to hang a show that represents one focused concept. I have hung groups of my paintings together, but I have not started off with the seed of an idea, and finished with a fully realized exhibition.

Now that I have the chance to bring together a show of the Private Message paintings, I am trying to really make the most of the occasion. I want to make it the most interesting show that I can, so I am trying to scrutinize the project as much as I can. Honestly, it really goes without saying that I think the project is compelling, but that is only one side of the story. Since these are fairly collaborative works, whenever I know a model well enough or think she might be interested, I have offered a space here to share her perspective.


As this point, I am going to shut up and turn over the stage to Liz.

I don’t consider myself to be an impulsive person, but if you look at my track record, my history implies it anyway. I’m in no way a planner, and I tend not to weigh consequences too heavily if they’re not particularly interesting to me. That said, I have a pretty good handle on trusting myself and my decisions, so it’s not surprising that I’ve on multiple occasions, offered up my semi-naked services to my college friend, Nick Ward. My own vanity is probably another factor: what woman would not enjoy being the subject of one’s art? If baring it all was part of the deal, so be it. Immodesty posed something of a challenge to me I was certain I could bear. So I did.

To give a little context, I teeter on the line between believing strip clubs are empowering for woman and demoralizing to women. Realistically, they’re not all one or the other. There are certain shades of what these extremes mean, and of course, not all women are the same. When it comes to our sexuality, there is no one to define it for us but ourselves. An inherently terrifying and liberating task all at the same time. Again, shades of gray. 

My own decision to photograph myself naked (and also to be photographed naked) resides in both my comfort with my body and my motivation to push myself toward exposure that encourages an opportunity for growth. While I am confident in my appearance, I have insecurities that keep me from vulnerability just as much as the next guy or gal. To an extent, striking balance between what I am comfortable doing and what scares me just enough, feels ideal. So I am thankful for the challenge and excuse to participate fully in what I consider to be a mutually beneficial opportunity for growth.

Portrait From Web, Portrait From Life

Happening

Cobi Moules at Carroll and Sons

When I decided to start writing these short reviews of shows, I intended to primarily write negative reviews. In general, I am a pretty positive guy; but I can’t remember the last time I read a review of any local show that could be classified as anything worse than middling, and I think that is a problem. In practice, this has proven to be a little more difficult than I expected. The thing is, when I see a piece that is poorly executed, I don’t get upset. If I think a piece lacks depth, I just move on. Even art that strikes me as just plain bad doesn’t make me feel like speaking out, it usually doesn’t really make me feel anything. I still think the Boston art world needs more bad reviews (feel free to come out and shit on my next show, really), but I am just not sure I can find the motivation to be the one that writes them.

So this time I set out to see a show that I was fairly certain I would like, to accept defeat once again, and just keep talking about the shows that I am excited about. For anyone that needs a recap, the kind of work that I am generally excited about is the kind that makes me think, and is also beautifully crafted. The kind that has something interesting to say, but does not lose sight of the fact that the act of creating (or performing) a piece is an equal partner to what is being said.

Cobi Moules makes that kind of work.

So despite the fact that a lot of the local galleries are hanging summer shows made up of last season’s left overs, and some are not even bothering to open at all, I was excited to make my way through the August heat to Carroll and Sons so I could check out Cobi’s work.

Cobi Moules Summet Shoot VI

Cobi is a transgender guy, and this show is all about his struggles to fit in, and find his way through some confusing childhood desires. The paintings are very carefully rendered copies of New Kids on the Block posters, magazine clipping, and trading cards, with the artist inserting himself into the role of Danny Wood (perfect, because really, nobody really liked Danny all that much anyways). The paintings are all small scale pieces that invite you to really bury your nose in them and examine every detail. When you do this, what is revealed is really amazing. The paintings are very simple. No painterly embellishments, or subtle layering here; because really, it wouldn’t make any sense. The paintings are true to the spirit of the references, feeling very much like a 1990’s Teen Beat print quality level detail, except for the portraits of Cobi. I have no idea if this is intentional, or just a byproduct of his familiarity with his own face, but he stands out in the paintings. In each piece, Cobi is just slightly sharper, and more detailed than the New Kids that surround him, making him the star of the show here. It really gives a wonderful feeling of fitting in, while standing out.

Cobi Moules Drug Free School Zone

The subject matter being explored is obviously significant, but the imagery is so playful and engaging that the pieces are easily approachable. I honestly can’t remember the last time I was smiling so hard in an art gallery. While his experience may seem to be far from what the average person may have gone through, these paintings find a brilliant way of revealing that we all have a lot more in common than what is seen at first glance.

Cobi Moules NKOTB Trading Card

I have no idea why Carroll and Sons sent it to summer show purgatory, but this show is definitely worth visiting before it comes down at the end of the week.

Cobi Moules

New Kid: Back to the Beginning

at Carroll and Sons

August 3 – 20, 2016

Blog Post

Admitting Failure (and Exploring The Marks Left By Our Digital Tools)

The nude figure is such a dominant subject in the arts. It’s hard to forget that humans, in general, are sex obsessed perverts. But hopefully we can set that aside for a minute and start this post off with a little look into one of the subtler aspects of this imagery. Clothes offer such obvious and immediate signals about the time, the place, the status, even the mood of the people wearing them. That is pretty common knowledge, and it can be difficult to look at the image of a clothed person without quickly forming some judgement about what their clothes say (or what they may be trying to say with their clothes). If we strip away the clothes, the viewer is forced to look elsewhere in a piece to find meaning. Also, humans, in general, are sex obsessed perverts that like to sneak a peek at the naughty bits.

This has always been one of my favorite parts of painting nudes (and similarly portraits). Since the context that is normally established by the subject’s clothes is missing from these images, I can start to explore more indirect ways of framing the stories told by my paintings.

Like a lot of people, I have a romantic nostalgia for the aesthetics of older technology. From the soft warm look of old film photos, to the ubiquitous sound of a guitar through a tube amp pushed to its limit, it’s hard to dismiss the beauty imposed by the analog processes of the past. That said, I am not foolish enough to overlook the signatures left by more current technologies. The noise in an image of an older digital camera, or that overly saturated, overly sharp look that people seem to love, or love to hate. The day will come when we look back fondly on the aesthetics of this era, and in the meantime, playing with these aesthetics feels like a great way to more quietly give a place and time to a composition.

So, I have always tried to find ways to make my paintings mimic, or mock, the marks left by todays tools. Over sharp, over saturated video, and photos are one of the unique looks of today. It grabs attention, it looks incredible at first glance; and I would bet that a lot of the same photographers that romanticize the cheap film of the past, probably view this aesthetic as in poor taste (at best). Honestly, those contrasting feelings are exactly why I have always thought this was a good place to play. So I looked for ways to bring some of that look into my paintings. If you look at some of my older paintings, the skin tones are vivid. They are mixed to feel real, but brighter, without using any earth tones. The look is three dimensional, but flat at the same time. I used multiple reference images with different focal points. So nothing is ever really out of focus, nothing falls back, everything is painted sharply.

Now that I have found some more effective ways to bring these ideas into my paintings, I am ready to admit that a lot of my previous attempts flat out failed. I just don’t think anyone really saw what I was trying to do, I don’t think the paintings were really communicating this connection effectively.

As I have been approaching the glitch paintings, finding ways to use the marks left by the different tools used to create the source images has been one of the biggest challenges. One painting is created from high resolution photos and live observation, and one is created from a glitchy, compressed text message image taken from a cell phone; the amount of information available in these two sources is worlds apart. So decisions must be made. Details have to be invented for the low resolution file, and obliterated in the other. Somehow a link has to be formed between these two, very different tools, so that the resulting diptych works together as a single composition.

And now I am trying to make similar connections, except using glitchy video files as a reference.

We have all seen the marks of highly compressed digital video files. The blocky fragmentation of images, the stuttering of quick movements, shapes exploding and merging when frames are dropped. Videos collect scars and the ghosts of past lives remain visible as files are repeatedly sent and saved. The degradation is not as graceful as old film, but the artifacts that develop as digital files reach the end of their useful lives can still be beautiful.

For a long time, I have been thinking about a series of paintings that would explore a single moment, and all the possibilities for the next moment. A series of images that would depict the hugely different effects and subtly different reactions possible at any moment in time between two people. The idea has tantalized me for a while, but I couldn’t find a way to make it visually interesting, until I stumbled on to this idea of slowly degrading image files. Now I have something that helps anchor the idea in time, and allows for very similar images, of very similar situations, to slowly degrade into nothingness.

For now, I only have the first frame to show you. A painting in progress that will become the center panel for this triptych. The best case scenario in this imagined situation.

vid-glitch-panel-1-nick-ward-painting-wip

And a little peak into one of the possible moments to follow.

vid-glitch-panel-2

Happening

Don’t Miss Catherine Kehoe at Miller Yezersky Gallery

These days, when I am searching for inspiration, or trying to find my way through a problem in my work, I tend to look in music.

I have written a little about this before.

The thing is, I spend so much time thinking about painting, so much time examining the structure, and so much time analyzing the techniques used, that I have reached a point where I have a hard time turning that off. It’s hard to enjoy a magic show, when you know the trick to all the illusions. As this point, when I come across a great painting, I approach it like a scientist, like an archaeologist gently uncovering the layers of paint. It’s a great way to learn how to make paintings, but a terrible way to really connect with a piece. I often find myself unable to turn this off. So I look to something that is still a little more mysterious (to me), I look to music to find my muse.

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There are still occasions when I come across work that I can’t reverse engineer. Sometimes I come across work that does something I cannot figure out, and does it incredibly well. I have been talking a lot about organizing a show of portraiture; and as I have been selecting artists for this exhibition, this is a lot of what I have been looking for.

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When they want to stop people in their tracks, to grab attention and pull people in, painters go big. It’s relatively easy to make an impression with the largest piece in the gallery, we know this. Getting the same response from a six inch tall piece is something different. Catherine Kehoe makes small paintings that command attention from across the room. Pieces that look great from a distance, and then get even better as you move in for a closer look. Years ago, I stumbled upon an exhibition of Catherine’s portraits at what is now Miller Yezersky Gallery (just Howard Yezerski Gallery back then), and I have been borderline obsessed with her work ever since. As I am typing this, I am staring at the tiny icons of the files that contain images of her work. Incredibly, the pieces still draw me in at this tiny scale. This is the magic of her work, not a single stroke of the brush (or knife) is wasted. The paintings walk a fine line, where the careful planning of each crisp mark is clearly evident, but somehow they still feel effortlessly spontaneous.

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I am writing this after a long day in the studio so, this is going to be short and sweet. I plan on diving deeper into her work soon, but Catherine’s current solo show at Miller Yezersky Gallery closes next week. On the off chance anyone out there is not familiar with her work, I wanted to make sure I did my part to encourage you to go pay it a visit. Obviously, my favorites are the portraits, but she even manages to find a way to make me love still life painting.

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She will be at the gallery this Saturday from 1-4pm (and has promised chocolate snacks) so that is an ideal time to stop in and experience the show before it’s too late.

Blog Post, Interviews

Talked To Poets/Artists Mag About My Glitch Paintings

I am planning a full post about the latest painting soon. In the mean time, I talked to Poets/Artists Mag a little about this series of glitchy paintings. I know I have talked a bit about these pieces already, but if you find yourself wondering – “WTF is he thinking with these paintings?” – this is the best place to start. Follow the link below to check it out…

EDIT: It looks like the link no longer works, so I will re-post the text below.

portraitfromweb-2-web


Please explain the process for this work. Tell us about the series in general.

This series focuses on the disconnect between our digital, and real world lives. Since more and more of our time is spent interacting online, and photographs are no longer constrained to one (or at most, a few) copies, our images are increasingly subject to misuse by anonymous strangers. This is especially true for attractive young women, who often find their most private digital moments taking on a life of their own.

For these paintings, I asked volunteers to send me a text message, or email, with an image that they would normally intend only for a significant other to see. I take this image and crop it so that their face is hidden; so their identity is somewhat lost, and sexual nature of the photograph takes center stage. Next the image file is corrupted using a script that randomly changes bits of the code. For me, the resulting image glitch signifies the end of the useful life for this image. The point where if the image had been shared, the image would no longer be beautiful enough to be forwarded along again. This version of the image is used as reference for the first panel of the painting.

Once I have started working on this panel, the model is asked to visit the studio to sit for a more traditional portrait, exposing her face so that she can reclaim ownership of the image of her body.

Working on this series has been an interesting challenge. Because, the first image is taken by the model herself, I have no real control of the starting point of each diptych. Because the image is sent to me in a text message, it is generally fairly low resolution. Finding ways to integrate the two images into a more composed piece has been problematic. Information has to be added to the low resolution text message image and edited out of the formal portrait, so that the two paintings can meet in the middle with similar levels of detail. At this point, I am starting to figure it all out, so I’m starting to be pretty happy with the resulting pieces.

Where do you see it going?

At this point, I am just happy that most people seem to understand what they are looking at without some big artist statement. I’m planning to make at least 5 or 10 of these pieces before I give up the series so hopefully, once I have a few more, I will find somewhere to hang them all together. Beyond that, I don’t know. I have started experimenting a bit with using glitched video files as reference for another related series, so you should be seeing the first of those soon.

Happening

Find My Painting, Get Free Art.

People are always emailing me, asking about giclee prints of my large pieces. I’m just going to go ahead and say for the record, they will never exist.

I feel for people who can’t afford the expense, or space required for a large scale painting, but I want everything I put out to be a special, one of a kind, touched by human hands, piece of art. That leaves a couple options for people who want more affordable piece; reach out and ask me to make a small painting, or wait for the occasional screen print or wood block print.

For those of you that are into screen prints, I am about to give some away.

I just sent the last glitch painting to the Zhou B Art Center in Chicago for an exhibition called, “Freak Out.” The show opens Friday the 15th (that is tomorrow), with what will certainly be a big, fun, opening party. Additionally, the opening coincides with their monthly Third Fridays at the building, where all the galleries in the building host opening receptions, and artists open their studios for visitors. In other words, there will be a lot to see.

So here is the deal. The series I am currently working on is all about selfies (not really news for anyone reading this, I know). In the spirit of this series, I am asking anyone who wants a print to go find my piece in the show (which is in the main gallery on the second floor), take a selfie in front of the painting. If you do that, post it up on Facebook, or Instagram, or Twitter (or whatever), and tag me in it so I can see it, I’ll send you a print. I am going to keep the image for the print under wraps for now, but since this game is all about selfies, it will be a screen printed interpretation of an image related to that part of this series.

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Image shows my piece, hanging alongside Silvio Porzionato‘s. Silvio, by the way, also has a show up at Artspace 8.

Beyond this, the show will just be good. You can check out a little sneak peak in the Huffington Post.

Or, get more information, and download a digital copy of the show catalog at the Poets & Artists site.

One more time for anyone interested, here is what to do:

  • Go to the Zhou B Art Center.
    (you can go anytime during the next month while the show is up, but obviously opening night is recommended)
  • Find my painting in the second floor main gallery.
  • Take a selfie in front of the painting.
  • Post it up on Facebook, Instagram, Twitter, Snapchat, wherever.
  • Tag me so I can find it.
  • Email me the address where you want me to mail the print.

Freak Out opens this Friday (the 15th) and hangs through May 14th.

Happening

Dell Hamilton at SubSamson

There is something about photography, something missing. I have had a hard time identifying exactly why, but I just can’t convince myself to give photography the same attention that I would pay to other visual art forms. When I see a beautifully composed photograph, or one with exceptional subject matter, I will stand in front of it, and I will try. I will try to get pulled into the image. I will try to stay focused, and really consider the piece. I will try, but I will usually fail.

Obviously, creating a great photograph takes a lot of planning and precision. I am not trying to claim that photography is easy, or that it is not a useful and potentially powerful form of art. Maybe it is because I spend so much time using photography as a tool to create prints or paintings. Maybe it is because I spend too much time on the internet, burning hundreds of throwaway images into my eyes each day. I don’t quite know the answer, but I default to treating photography (even the really good stuff) the same way I treat my Instagram feed. Quickly stopping in front of the ones that catch my eye, then moving on about my day without ever slowing down to collect more than an immediate impression.

Last Friday, I set out to check out the Jacob Collins show opening at Adelson Galleries here in Boston. Now, landscape and still life paintings… are not exactly my thing. This is not the kind of subject matter that would normally motivate me to get up off my couch and across town on a Friday night. In this case, I hoped to find something in Jacob’s process. By all accounts, he is a talented realist painter, and while I am not generally concerned with following traditional methods, I still know enough to see that there is a lot I can learn from them. So I headed to the show in hopes of finding some technique that really spoke to me. I wanted to be dazzled, not by his imagery, but by his process.

I left that show after not much more than a quick lap around the gallery.

Instead, I found what I was looking for in Dell Hamilton’s photographs at SubSamson. As I walked into her space (she is the current resident artist at SubSamson), Dell was describing her work to another visitor, and I was immediately pulled in. She was describing exactly the problem I had been having with so much photography. Creating a great photograph takes planning. It takes technical precision. It is not an easy process to get right, but most of the work is done before the act of actually hitting the button. A lot of what I respond to in a work of art, has to do with the process. There is a lot of magic that can happen, after the plan has been established, but before the final product is presented. The act of creating, of working through problems, of making mistakes, and then finding a way to use them to your advantage; this human touch lends an air of importance to art work, and it is missing in a most photography. In the case of the photographs Dell was showing, composing and taking the photograph was just the beginning.

She described using the initial photographs as the basis for improvisation, experimenting with traditional analog, as well as digital techniques to introduce distortions and allowing each process to leave its mark along the way. Some of the marks are identifiable, key codes from old film, dust or fingerprints collected along the way; others are harder to pin down, distortions introduced by older scanners, glitches from editing software. The resulting images combine that nostalgia for old analog mediums, with the visual ques that may one day arouse similar feelings (future nostalgia?), in a way that really sings.

The work, and Dell, really speak better for themselves, so I will simply say that I left inspired, and recommend that you pay her a visit.

DH

Blog Post

10 QUESTIONS TO ASK AN ARTIST WITH NICK WARD

See it here: https://li.st/l/0ct26W4qw8duO9U1Uw5xeJ

Blog Post, In Progress

Getting Started on the Next Glitch Painting

Diving into the next glitch portrait today.

Tried to step up my panel game for this one.