In order for artists to thrive in any particular place, they need three elements. They need to be near institutions on higher learning and culture – museums, universities, theaters – places where they can develop a foundation of history, expand their knowledge, and enjoy the great work that already exists. They need people interested in supporting the arts – collectors, patrons and others that can support the work financially, but also an audience. Finally, they need space to live and do their work. This includes work spaces, but also space to support the sales, performances, and community engagement that is crucial to creation. Small galleries, Artist run collectives, project spaces, performance halls – places that can support and nurture entire networks of artists.

At this point, my city is clearly lacking one of these elements, and it was uplifting to see the Boston City Council stepping up and calling a hearing to discuss affordable housing and work spaces for artists.

You can watch the hearing on YouTube here:

Like a lot of people, I was unable to make it to the hearing but, for reasons that I will assume are obvious, I care about this stuff. Since I couldn’t stand up and speak in the room, I wanted to write my thoughts about these issues here, in hopes that it would encourage some more of you to do the same.

In order for a city to thrive, everyone needs to have an affordable place to live, and the city leadership should really be doing everything they can to make that happen. That means building more houses, as well as developing programs that ensure current residents are able to remain in the places they call home. This city really needs to find ways to encourage both of those things to happen so that everyone that wants to call this city home – including artists – has a place to live. However, allowing private developers to chose to dedicate subsidized housing units to artists, while excluding other people who would otherwise be qualified, creates a system that is ripe for abuse. All that is to say, I am going to focus this on advocating for the other spaces that artists need. While it is not as fundamental as having a place to live, it is the area of this issue that is more intertwined with supporting the arts.

Based on the testimonies at the hearing, it would appear that this issue was brought to the attention of the city council by the artists that have recently received eviction notices from the Boston Center for the Arts. Before I go any further, I think its important to say that my initial reaction was to side with the BCA here. We know that there is a very limited number studio spaces available in this city. At the BCA there is apparently a group of established artists that have testified that they have the resources to pay market rate for work space, and they have instead stayed in highly subsidized spaces for decades. In my view, the BCA’s decision to restructure their studio program to force higher turnover in highly subsidized work spaces is fair in that situation. However, the real issue here is that we should not have to chose between supporting established artists in a way that helps sustain their work, or supporting less established artists in a way that helps them get their career started. There should be opportunities within this city for both to thrive.

There are more galleries in Boston now, than there have been at any other time in the last decade – but fewer project spaces, artist run galleries, spaces dedicated to experimental or difficult to sell work.

This is not a uniquely Boston problem, as cities have boomed, real estate prices have gone up, traditional galleries have struggled. They are able to take less risks, the work they support has become more conservative and easier to sell. We have seen most of the traditional galleries that attempted to support younger and more innovative artists – Samson Projects, Anthony Greaney Gallery, Carroll & Sons – dramatically downsize their efforts, or give up their spaces all together. At the same time, the artist run efforts that support those working even further out on the fringes have all but disappeared (for now, we know that artists always find a way).

I don’t have the solution to this problem, but I do know that without this support network, artists will leave.

I personally do not want to live in a city where there is no space for experimental and innovative art. I want to see new media installations that take on the internet. I want to stumble into performances that make me uncomfortable. I want to listen to local musicians without risking life and limb in some sketchy Allston basement. Obviously, I also want to have space to find some interesting paintings (and maybe even show my own). In short, I want this city to start supporting the sort of artistic conversations that lead to work that will one day find its way into museums, even if it is not quite ready yet. Right now, the kinds of spaces that support this kind of work, and give community to these artists, can not sustain themselves in this city.

Quite frankly, the current plan of giving some zoning relief to developers willing to maybe include some space dedicated for cultural use (that can also be rented by a tech startup) is just not going to cut it.

I am tempted to dig deeper into this but, ultimately I think the best approach is to encourage everyone to weigh in on this and speak up for the kind of art you make and the kinds of spaces you need. There was not a very wide demographic of artists represented at the hearing (and honestly nobody seemed to be pushing for the kind of work that I will miss seeing in this city) so, hopefully I can convince a few more people to join the conversation. Artists need space to work. We need space to come together and see what our peers are working on. We need places to get our work out for larger audiences to see. How to we make sure that Boston has a network of those spaces?

I’ve been feeling a bit burnt out after finishing up the last pieces for the show at Thomas Young Gallery. A strange combination of relief that the show is painted and hung, and anxiety about what to do next. Sometimes, a break is in order. So, I have been spending less time in the studio the last couple weeks, trying to catch up with the real world, but allowing thoughts of the next series to evolve.

Before I dive deeper into the next project, let me take a moment to thank everyone who braved the weather to turn up for the opening of Private Message. We decided to keep the gallery open, in hopes that the weather would not be too bad, but clearly that was not the case. The turnout was solid, considering the city was being slammed by a blizzard, so thanks to everyone who made it out. For everyone else, we are going to have a second reception on Thursday March 16th. I will post more details soon, for now you can join (and share) the event on Facebook. https://www.facebook.com/events/1744711695842816/

I have already mentioned that the next series is going to use more glitched files as source material, but this time instead of photos, it will be video. I love the way that I can parallel the changing mood in the image, with the degraded quality of the video file, allowing the tone of the painting to darken as the image deteriorates. As a bonus, since this series is not focused on women, I will finally be able to get some guys involved again.

It always takes a few attempts to get these ideas really working, and this is no exception. The first painting, while it ended up looking pretty good, left me with more questions than answers.

Do I really need to include a nice clean hero shot before I let the image break apart? How closely should I recreate the actual source imagery? How far do I need to push things, is simpler better or should I get really detailed?

I have managed to sort out most of these questions (for now), but I am left with one big decision to make. I am left questioning the format of the series, which is generally a secondary concern, but seems oddly important in this case.

I like making multi-paneled paintings for a lot of reasons. Most importantly, I just think it is interesting to have multiple scenes, or multiple viewpoints on a scene. It is nice to have the ability to treat the individual painting like the panel in a comic book, pushing the story further along than a single image can. Beyond that, there is something about repeated forms – weather they imply transcendent rhythm, or insane rambling – that is just interesting to play with.

But they are not without their problems. There is really no way to describe the feeling of walking in to an opening, and finding your triptych hanging in three different rooms of the gallery. And inevitably, even if the piece gets hung together, someone will fall in love with one panel, and have no interest in the rest of the set.

With all that in mind, I have come up with two possible formats for this series of paintings. Two formats, that I think will eliminate the drawbacks of multiple panel paintings, while pushing the benefits even further. I just have to decide which way to go.

The first possibility is to stick with the triptych format, but make it more of a traditional altarpiece style construction. The upside to this is that it would probably look amazing. The downside is that I would probably be stuck with a massive piece that was expensive to create, and difficult to sell.

The second possibility is to create a series of paintings that can be hung together in a sort of film strip style arrangement. Each piece would be a stand along painting, but the series of paintings would be able to hang together to reveal a larger story. The upside to this approach is that they could be mixed and matched into different arrangements, and I might actually be able to sell some of them.

If you have any insight here, I am open to your thoughts, so comment here or send me a message. Also, get in touch if you are interested in modeling for one of these paintings. The concept is more flexible than the last project, which opens things up for a lot of different people, and interpretations on the idea of declining quality and languishing situations. If you make it out to Thomas Young Gallery on the 16th, take a look at my first attempt at this idea and let me know what you think.

I spent yesterday morning over at Thomas Young Gallery shuffling my paintings around the room, trying to find some rhythm to the colors and shapes of the pieces. Working with the guys at the gallery, to get things ready for Thursdays opening reception. Should we start with the pieces with the deepest colors, and allow the pieces to lighten up as you enter the room. Maybe alternate between heavier feeling paintings and airier ones?

In the end, we stumbled into a layout where nothing jumped out as wrong, and accepted it.

After a year of working on these paintings—staring at them individually, focusing on the details on a micro level—I was starting to lose my enthusiasm for the project. When you work on large paintings for an extended period, you inevitably reach a point of diminishing returns. The point where, the painting is finished, and everyone can see it except you. In the case of this show, I reached that point with these paintings a few weeks ago, but I was having trouble stopping myself from making corrections. I think this is true for all artists. If you stare at a painting long enough, you will always find a correction to make.

As I pulled these paintings out to make final preparations for the show, all I could see was hundreds of tiny mistakes that I wanted to correct. All that needed to be done was a final cleaning and varnish, but I was getting stressed out by a bunch of details that nobody else was ever going to notice.

As I pulled them out of the car and arranged them around the gallery, I was still worried about corrections that needed to be made. Once they were all out of the studio, arranged in the gallery, something changed. I looked around the room and saw the pieces as whole paintings, saw the paintings as a complete show.

I know this post is a bit cheesy, but it truly was a moment of clarity for me. An instant flip from stressing about insignificant details, to excitement for the show.

I will resist the temptation to ruin this moment of clarity by worrying about whether people will understand the intent of the paintings, I have written enough about that for anyone interested. Instead, I will just invite you to come out and see the show.

Opening this Thursday:

Private Message

Thomas Young Gallery

Opening Reception February 9th from 6-10pm

Located at 516 E 2nd Street in Boston
Join the event on Facebook and invite your friends if you think they would be interested: https://www.facebook.com/events/985047681628690/

I have been working on this series for quite a while now, and I’m pretty excited that Thomas Young Gallery has given me a chance to hang them all together as a solo show. For those that don’t know about these paintings, I included a short statement about the work below, for everyone else, here is the information on the opening reception.

Private Message

Thomas Young Gallery

Artist Reception Thursday March 16th from 6-9pm

Located at 516 E 2nd Street in Boston
Join the event on Facebook and invite your friends to help spread the word: https://www.facebook.com/events/1744711695842816/

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 our photographs are no longer constrained to a single copy, our images are increasingly subject to misuse by anonymous strangers. This is especially true for young women, who often find their most private digital moments taking on a life of their own.

To create these paintings, I asked volunteers to photograph themselves, to create a sexy image that felt like it was only intended for a significant other to see. Once I receive the image, I crop it so that their face is hidden; so their identity is lost, and the sexual nature of the photograph takes center stage. Next the image file source code is corrupted. For me, the resulting image glitch signifies the end of the useful life of this image. The point where an image that has been shared would no longer 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.

Post edited to reflect the new reception date.

I was planning on keeping this under wraps a little bit longer, but honestly, I’m pretty excited about this.

In my relatively short life as an artist, I have managed to be involved in some great shows. I’ve had the chance to hang my paintings alongside the work of artists who I really respect and admire. I’ve even gotten the opportunity to hang shows that consisted solely of my paintings. I’ve even made a few dollars along the way, and I feel really fortunate to have taken it this far, but lately I have been thinking about the next step. So when I sat down to start a new series of paintings, I did it with that in mind.

I sat down, not only with the intention of finding an interesting subject to explore, but with the ambition to push things as far as possible. To refine and develop the next series of paintings until I came up with a fully realized show. So I have been locked up in the studio for the last year, with more than a little help from the Elizabeth Greenshields Foundation, working on the Private Message paintings.

It has been a while since I have had any paintings hanging locally, because lets be honest, there are not a lot of places in this city that will really let me run with my weird ideas. We have some wonderful galleries that focus on traditional painting, and we have a great network of galleries that support the more abstract and intellectually challenging stuff. My own interests tend to fall somewhere in the middle, and the harder I have tried to create paintings that bridges the gap, the more I have felt like and outsider in both of these art worlds. So when Greg at Thomas Young Gallery offered to hang the show, I jumped at the chance.

This coming February, the Private Message paintings will hang at Thomas Young Gallery in South Boston.

More information soon, along with a couple glitchy screen prints that won’t be for sale, but will be for free.

I have a bad habit of exploring ideas out loud. As I am thinking my way through problems, I will ask questions, spit out ideas, request feedback on half baked theories and generally allow most any thought that passes through my head to escape as sound. In the world of bad habits (even in my own world of bad habit), this one is fairly benign but, it does have a way of confusing, annoying and generally making me look foolish to anyone with the poor fortune of being within earshot at one of these moments.

I feel like I have allowed this habit to infect my writing lately as I have been publicly working my way through the pixelated private message paintings. In other words, it has been helpful to send my ideas out into the world, to receive the confused glances that come with bad ones, along with the excitement and support that come back from the good ones but, I expect that everyone is just about ready for me to shut up about it all ready.

With that in mind, I am sending my latest study for this series to a show at the Dorchester Art Project.

I am sending my piece to this show and I am telling you not to worry, you are not going to this show to see my latest exploration into this idea, you are going to DAP to see the other artists. You are going here to marvel at latest group of amazingly talented artists coattails that I have somehow managed to ride.

Here are a few teaser pieces from the show, keep reading below for official press release and dates.

BETWEEN YOU AND ME: RESIDENT GROUP SHOW

Exhibition: August 14­ – September 18

Artist talks: September 12

Closing Reception: September 18

Dorchester Art Project

1486 Dorchester Ave Boston

The Dorchester Art Project is pleased to present its inaugural exhibition, B?etween You and Me: Resident Group Show. C?urated from work produced by DAP resident artists, B?etween You and Me locates the tenuous threads that bind together artists working within communal space.

In the front gallery, photographs consider how individuals relate to their worlds and constructed tableaus explore otherworldly scenes. Paintings of faces fall apart into pixelated squares, mimicking the failure of cellular communication between people, while in other works, intertwined figures emerge from abstraction. In the back gallery, a site­specific installation of sculptures that reference painting recreates the artist’s studio within the gallery space. Collages made from phone books and other paper detritus sourced directly from the Dorchester environment are as much about absence of information and individuals as their presence. Across the paintings, sculptures, photographs and drawings, there is a commonality of artists engaged in critical discourse and thinking as the artists interpret their environments and interact with the surrounding communities.

Operating in the space formerly occupied by the Howard Art Project, the Dorchester Art Project is dedicated to fostering a collaborative environment for critical discourse and creative engagement for emerging artists. Located in the Fields Corner neighborhood of Dorchester, DAP provides studio and communal space to artists, while programming our gallery space with regular exhibitions of critically engaged, emerging local artists, as well as artist talks and lectures. DAP aims to engage a wide audience, and bridge the gap between urban residents and the critical art establishment.

Join and share the event on Facebook: https://www.facebook.com/events/494095904089321/

If you follow me on Instagram, you might have noticed that I have been acting a bit out of character lately, working on small paintings. In the past, I really struggled to translate the process and feeling of the large paintings into a smaller, more affordable package. I have a very particular way of working, and I just can’t seem to convince myself to paint any other way.

When a lot of painters work, they are editing out a lot of visual information. They are taking the complex real world and simplifying it, deciding what is important, and including only what is necessary to create a nice clean image. This is a great way to work. I don’t do it.

When I work, I generally take the biggest canvas, and the smallest brush I can find. I like to pack in as much information as possible. Instead of taking a complex area and simplifying it, I am taking simple things and breaking out every possible color that might possibly exist there. This is a bad way to work. It takes a long time and it just doesn’t work at anything less than large scale. I do it anyways.

The thing is, I really think it makes interesting paintings.

I want anyone who buys one of my paintings, whether they spend thousands of dollars on a large piece, or tens of dollars on a tiny one, to come home with a piece that I think is good and interesting. If someone buys one of my paintings, I want it to have the things that make a painting mine, no matter what size it may be. Because of this, I have not sent out many small paintings lately.

Recently, my friends at Sloane Merrill Gallery asked me to create a few small paintings for their December show. So, I headed into the pathetic small spare bedroom that is my current temporary studio, determined to come up with some paintings that I would be happy showing.

I think I finally found the right balance. Instead of trying to scale down my techniques, I just painted with the same intensity and scale of strokes that I would use on a large piece. In the case of these smaller pieces, there is just less of it. So, for the first time, if you like the large pieces, you should see a lot of what you like in the small ones.

I am interested to see how people respond to these pieces so, please head on over to Sloane Merrill Gallery for their 10×10 show next week (or any time in December), have a look at the pieces and let me know what you think. They will be hung along side a lot of other great pieces, including a few by my old studio-mate (from the infamous studio 11), Tony Bevilacqua. Official show details along with information about the opening reception below.

Twenty painters given the same dimensions

10×10 Inches

Opening Saturday, December 6th from 3-8pm! Artists include Carlo Russo, Jeremy Durling, Adam Vinson, Leo Mancini-Hresko, Matthew Saba, Jeremy Miranda, Tony Bevilacqua, Kyle Bartlett, Kelly Carmody, Nicholas Mancini, Margaret Langford Sweet, Brett Gamache, Andrew Fish, Michelle Arnold Paine, Nick Ward, Michael Compton, Aurélie Galois, Frank Strazzulla, and Jonathon Nix.

At Sloane Merrill Gallery, 75 Charles Street Boston, MA

Help spread the word, share the event page on Facebook.

South Boston Open Studios is happening on Sunday June 1st and, despite the fact that I am in the middle of moving my studio to Dorchester, I will be set up and open for visitors. This will, most likely, be the last time that I participate in one of these events for a while so, if you are interested in seeing the paintings and talking with me about art, be sure to come out!

Postcard image by Dana Woulfe

This spring, the whole neighborhood is joining in the fun, with artists opening up in The Distillery, and King Terminal building, along with a few of the neighborhood galleries (including Thomas Young Gallery and the newly opened 555 Gallery).

For more information, and a full list of participating artists and galleries, visit southbostonopenstudios.com.

There will also be a neighborhood art stroll hosted by New Art Love. They will lead a group of visitors through the galleries and artist studios of Southie and talk with artists, curators, gallerists and more. Afterwords there will be a reception at LaMontagne Gallery. It sounds like a great way to experience South Boston Open Studios so, if you are interested, be sure to check out the Facebook event page, or go to www.southbostonartcrawl.eventbrite.com for more information.

I have not posted any updates in a while but, there is a lot going on in my studio.

A friend of mine recently asked me to hang some pieces in the lobby gallery at the FP3 building in Fort Point. The room is beautiful and, in the back opens up into a large space with 20 foot ceilings, which makes it the perfect place to hang some of my larger paintings. I am always surprised at how nice the paintings look when they get out of the studio and into a proper environment and this is no exception. The space really gives the paintings some room to breath and, its great to see the new 5’x7′ large piece in a space that makes its scale work.

In any case, they are holding a little opening reception this Thursday from 6-8 (I hear there may be tasty snacks). So, if you are around Boston, come on out, say hello and check it out.

Nick Ward’s Distorted Memories
Opening Thursday November 14th 6-8pm
FP3, 346 Congress Street Boston, MA
https://www.facebook.com/events/1378107369099991/