After a bit of a break from the studio, I am back to work on some new sunbather paintings while I plan for the next big glitchy installation. Because the sunbathers are about to make a comeback, I thought it was only fitting to send one of the pieces from the first round of this series out to Arcadia Contemporary in Culver City to spend some time in the California sun.

So, if you are in the Los Angeles area, and want to check out one of these paintings in person (along with some other great realist painting), here is your chance. The piece I sent over is Christine #2. It has always been one of my favorites from the series, and shows off more painterly brushwork than a lot of my recent paintings. Seeing this piece really inspired me to start experimenting with bringing some texture back into the next round of glitch paintings.

The show was arranged by Didi Menendez of Poets and Artists, featuring work curated by John Seed.

Opening reception this Saturday December 2nd.

Details about the show, along with a sneak peek at some of the other work in the show, below.

Susannah Martin “Helium”

Poets And Artists Show

Arcadia Contemporary

Opening:
Saturday, Dec. 2nd 6-8 pm

Nadine Robbins “Keep Calm and Eat Oysters”

On view:
Dec. 2-13, 2017

9428 Washington Blvd, Culver City, CA 90232

Artists:

• Jamie Adams
• Erin Anderson
• Bo Bartlett
• Aleah Chapin
• Carl Dobsky
• Michelle Doll
• Anne Harris
• F Scott Hess
• Jason John
• David Jon Kassan 
• Daniel Maidman
• Susannah Martin
• Dan McCleary
• Kimberly Merrill
• Ricky Mujica
• Serena Potter
• Lee Price
• Nadine Robbins
• Irvin Rodriguez
• Bradford J. Salamon
• Vic Selbach
• Betty Shelton
• Cynthia Sitton
• Jon Swihart
• Michael Van Zeyl
• Nick Ward
• Conor Walton
• Peter Zokosky

Vic Selbach
“Mielikki”

Cynthia Sitton
“A Long Time Ago”

CDaniel Maidman “Leah Checking Her Cell Phone in the Studio”

Conor Walton
“The New Religion”

Finally, for those that love the sunbathers, here is your first look at the first in the next round of paintings. Still early in the process, but off to a good start!

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.

November has been a busy month over here. Art fair week in Miami makes the perfect excuse to escape the cold in Boston, so I’ve been scrambling to finish up a couple paintings for my upcoming show at Thomas Young Gallery before I pack up my family and head south to take in scene. Before I talk any more about the next show, I want to take a moment to tell you a little more about the piece I am sending down to Miami for Chévere at Sirona Fine Art.

You have seen the images of the piece, and anyone interested has read a lot about the concept for this series, but this time there is a little more to share about the piece.

It is no secret that I think one of the most powerful aspects of any painting, whether it is a realist piece or a more abstract work, is the labor that goes into making it. The simple fact that someone thought an image was important enough to invest hours, sometimes even years, of work into its creation adds an aura of significance. Because of this, I have always tried to work in ways that forces me to work slowly, deliberately, and leaves the labor of painting visible in the final piece. Beyond that, I have always hand built panels to use for my paintings.

What this all means is that I want each piece I make to be a unique and hand made object from front to back. With that in mind, I have decided to start building panels that are as special as the paintings they contain.

The new panels start out with some really nice Baltic Birch plywood. This is the very best stuff I could find, commonly used for ultra high end cabinetry, it is a big step beyond regular hardware store plywood when it comes to quality. Instead of being made of a few thicker pieces of woof with a thin outer veneer of nice birch, this stuff is made with mane smaller layers of wood, with an evenly thick outer veneer of birch. What that means for the painting is, the surface will be as smooth, strong, and stable as possible. As a nice bonus, the evenly sized layers of wood that make up the final piece make for a really beautiful edge, so I leave that visible in the final panel. In this case, I did a kind of white wash finish that keeps things looking simple and clean, but lets you catch a peak at the work that went into the panel.

The supports behind the panel are made of maple. Maple is a nice dense, hard, hard wood. So it should resist warping as much as possible. This is the same wood that is normally used for high quality canvas stretcher bars, and I make sure to pick the best pieces I can. Once these are cut to size, I join them together with box joints. This means stronger connections with no nails to corrode over time, and also leaves a nice pattern of edges at the corners.

The first painting that utilized one of these improved panels is currently at Sirona Fine Art. Not only am I really proud of the finished painting, but I am also pleased that the back of the painting is just as polished as the front. When it comes to hand made objects, the details that can not be seen are just as important as the ones that can.

So, if you are in Miami for art fair week, try to make your way up to Sirona to check out the show. I will be at the opening party on December 3rd, so come out and say hello. In the mean time, check out a preview of the show in American Art Collector Magazine, or Fine Art Connoisseur Magazine, and explore the rest of the work from the show on Artnet.

For those that can not make it out to see the show in person, pick up the current issue of PoetsArtists Magazine and get the full experience there.

See you in Miami.

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.

This is a two part post, if you just want to read about my piece, head here.

I have spent a lot of time on this site saying nice things about Poets and Artists Magazine, and I am always happy to send work to the shows that they organize. What started out and one woman with a passion for the arts, has grown into an amazing community of artists, poets, curators, and gallerists. The shows always bring together an amazing range of artists. Relative newcomers (like me) hang alongside established artists, students hang alongside professors; and everyone’s work is given the respect it deserves, because it’s all damn good. Most importantly, it has given me the opportunity to meet, and share a drink or two, with a lot of great artists.

The best part about participating in these shows, is that they encourage experimentation (at least for me). This has led me to send them some of my best pieces, along with more than their fair share of flops. This time I wanted to send a piece I really felt good about, so obviously I started off on some half-baked idea with no real finishing point in site. If you have been following along, you may notice that I have not yet posted the final images of the triptych I have been working on. I think you can see where this is going. While I do feel good about that piece, I do not have any idea exactly how to finish it. Fortunately for me (and, I suppose for Sirona Fine Art), the same model had also signed on to help with one of the text message portraits, and the resulting piece is probably the best that has come from that series.

Check back later this week for a full post on that piece.

For now, here is a little more information about the show, and most importantly, images of some of the great work that will be included.

Erica Elan Ciganek’s piece for Chévere

The show is called Chévere. It will hang at Sirona Fine Art in Florida, but there is also an issue of Poets and Artists Magazine, which will feature work from the show along with accompanying poems and essays. Check that out here: http://www.poetsandartists.com/store/pa77-chvere

Victoria Selbach’s piece for Chévere

Chévere is a group exhibition and publication showcasing works of art inspired by the Romance Languages of Latin America. Chévere’s intention is to break stereotypes. It will feature figurative, narrative, environmental, emotional, street, poetic, and history depicting works.

For anyone who happens to be headed to Miami for art fair week, the opening reception will be Saturday December 3rd from 6-9 pm At Sirona Fine Art in Hallendale.

As always, join the event page on Facebook, and don’t be shy about sharing it with anyone who might be interested.

Irvin Rodriguez’s piece for Chévere

Here is a full list of the artists (painters, poets, sculptors, photographers and essayists) involved in the exhibition, and the current issue of Poets Artists Magazine.

(I alphabetized them by first name because I have no idea how to sort by last name in Word, and seriously who can really be expected to do things right if they can’t make the computer do it for them)

• Alia El-Bermani
• Ana Menendez
• Aneka Ingold
• Brett Harvey
• Carlos Ramirez
• Carmen Chami
• Daena Title
• David E. Olivera
• David Lehman
• Debra Balchen
• Debra Livingston
• Dorielle Caimi
• Elizabeth Claire
• Eloy Morales
• Elsa Munoz
• Erica Elan Ciganek
• Erin Anderson
• Ernesto Marenco
• Fidel Rodriguez
• Geffrey Davis
• Geraldine Rodriguez
• Gig Depio
• Grace Cavalieri
• Irvin Rodriguez
• Ivy Alvarez
• Jaime Valero
• Jason John
• Javier Chavira
• Joe Amato
• Joseph Lorusso
• Jules Arthur
• Katalin Studlik
• Lauren Amalia Redding
• Mary Jones Easley
• Matthew Cherry
• Michael Van Zeyl
• Miranda Graham
• Nadine Robbins
• Nick Ward
• Nin Andrews
• Omalix
• Paola Estrella
• PF Potvin
• Rene Romero Schuler
• Reuben Negron
• Santiago Corral
• Santiago Galeas
• Sergio Gomez
• Sharon Pomales
• Suzy Smith
• Sylvia Maier
• Tanja Gant
• Tim Okamura
• Victoria Selbach
• Yunior Hurtado Torres

what’s INSIDE HER never dies… a Black Woman’s Legacy.

Nov 30th, 2015 – Feb 28th, 2016

Panel: Wednesday, Dec 2nd 1pm

Artist Reception: Saturday, Dec 5th, 10pm- till

Yeelen Gallery

294 NW 54th Street

Little Haiti, Miami 33127 954.235.4758

Patrick Earl Hammie – “F.B.J.” – oil on linen

(Miami, FL) October 2015 – Yeelen Gallery presents what’s INSIDE HER never dies…a Black Woman’s Legacy, a group exhibition curated by Karla Ferguson and in collaboration with Poets & Artists Magazine; on view through Art Basel Miami Beach week from November 30 to February 28, 2016. Bringing together a select group of like-minded artists, curators and cultural tastemakers, Yeelen celebrates the legacy and influence of the Black Woman.

“what’s INSIDE HER never dies…” will mark the three-year anniversary of Yeelen Gallery and will include a compelling body of 25 artist/activists including: Sylvia Parker Maier, Tim Okamura, Joseph Adolphe, Jerome Soimaud, and Numa Perrier. Yeelen’s annual Art Basel reception will be Saturday, December 5th from 10 pm-till attracting one of the largest constituencies of artists and influencers outside of the usual fair grounds; this gathering has become the ultimate expression of creativity during Miami Art Week.

“We are proud to pay homage to the beauty and resiliency of the Black Woman, we aim to continue to fight for her rights and equal respect,” said Karla Ferguson, gallery owner and director. The exhibit will present through portraiture, drawing, photography and installation, the beauty and the emotions of these heroines whom inspire us generation after generation.

Judith Peck – “Pulled Over” – oil and plaster on board

Artists include:

• Ayo Akinwande
• Christie Neptune
• Debra Balchen
• Erica Elan Ciganek
• Hattie Mae Williams and Loni Johnson
• James Clover
• Jerome Soimaud
• Joseph Adolphe
• Judith Peck
• Marco Gallotta
• Mariette Allen Pathy
• Naima Green
• Nick Ward
• Numa Perrier
• Patrick Earl Hammie
• Rodney Ewing
• Shie Moreno
• Susanne Mitchell
• Sylvia Parker Maier
• Tim Lowly
• Tim Okamura
• Victoria Selbach
• Taha Clayton

Joseph Adolphe – “Fragile” – oil on canvas

Yeelen Gallery – 294 NW 54th Street – Little Haiti, Miami – 954.235.4758

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/

The show is up from June 7 through August 2, 2015 and, there is a Members Only Exhibition Preview on Friday, June 5 from 5–7pm.
Head over to the Danforth website for more information and a complete list of artists.