Almost Done…

Just two more mezzotints to print in the Lamentations 3:1-20 series. One is entirely complete while the other is 2/3 done. I expect I’ll be printing them by Tuesday. It’s been epic and challenging working on this series for the last 16 months. In some ways the works are so far outside of my instincts… in others they’re right in line with my sensibilities. I am super excited to see them up in just a few weeks at Gordon College. I’ll post images…

On Spirituality: Emerging Visions of the Spiritual

“On Spirituality: Emerging Visions of the Spiritual”

Marshall University, Gallery 842,
842 4th Avenue, Huntington, WV

Jan. 21- Feb 18th.
Opening Reception: January 21st, 8-6pm

Included Artists:

Matthew Ballou
Jared Clark
Jeff Guy
Stacy Isenbarger
Leonor Jurado
Natalie Larsen
Casey Smith
Rusty Wallace
Charles Westfall

My statement for the show:

“These works on paper are part of a series exploring the formal elements of an ancient geometric form called the dodecahedron. Made from twelve pentagons, the dodecahedron was thought by Plato to be the physical shape of the universe. It was the fifth – the quintessential – of his famous Five Solids. This Solid carries with it a number of metaphysical meanings, not the least of which is the notion of an amoral stage or arena within which the machinations of reality take place. In my works, the angles, shapes, and semi-tessellation of the layered dodecahedra bridge the distance between the organic and the mathematic, between the known and the unknowable, between physical description and metaphysical intuition. These contemplations re-imagine those of Saint Augustine, who saw spiritual epiphany as inherent in rational inquiry.”

One of my works in the show, Quintessence #4:

Generosity of Spirit

One of the best things Barry Gealt – my primary professor at Indiana University (I got my MFA in Painting there in ’05) –  ever convinced me of was the fundamental need for artists (and people in general) to develop and project what he called “a generosity of spirit”. It was one of those obvious things we so often need to be told to see as obvious.

But what did it really mean? I think Barry meant it in a few different ways… at least I interpreted it in a couple key ways and continue to refine my understanding of it. At the time, I thought of generosity of spirit in two main ways:

First, I thought of it as consciously extending basic good will toward other artists. When an artist is in the studio, when they work hard, when they spend time with ideas and words and thoughts and images, they deserve some true consideration, some assumption that they’re not just pulling the wool over an audience’s eyes. People who really dedicate years of their life to art-making aren’t doing it just to craft a lame inside joke; they’re doing it because they love it, they believe in it, and have made huge sacrifices to do it. That sacrifice deserves respect – it deserves the generosity of believing the best about them.

Secondly, Barry stimulated me to think of generosity of spirit as a kind of networking principle. This wasn’t the crass, dog-eat-dog networking of just using people to get a leg up on the competition. Yet it went beyond the quid pro quo angle as well. It wasn’t just doing one thing to get another, it was taking initiative to actively create opportunities for others. It went beyond doing something nice in the hopes that you’d get something nice in return later on. It was a lifestyle choice, a way to create a culture of support and encouragement for artists in general. If enough people got on board we’d all be giving and receiving something far beyond “you scratch my back, I’ll scratch yours” – we’d get a sea change of the human equation. Generosity of spirit was Barry’s “pay it forward” concept.

In this sense, generosity of spirit sort of rests on a rhetorical question stemming from the bible: “what do I have that I haven’t received?” Obviously I’ve received everything – life, breath, language, mental capacity – and could do NOTHING to obtain them in the first place. While I am responsible for fostering and developing them over my lifetime, recognizing that I did nothing to get them and couldn’t replace them if they were taken from me instills (or should instill) a deep perspective of gratitude and hopefulness in the finite contingency of my life. This perspective should cause me, in appreciation and good will, to seek the best for others, to hold others up, to be a friend, to be compassionate, to be joyful and proactive in what I do. Why? Because I know that I am not what I am because I “deserve” it, but because I have received a great treasure in the form of being-ness and consciousness, and a great fundamental dignity in the form of being human. In the light of these things I must recognize the essential value and significance of others. They too received what they could not manufacture for themselves; we’re all in the same boat. Knowing that I couldn’t even live – or continue to live – without what I’ve been given causes me to value giving in itself. When I value giving, I do it for its own sake and work to create opportunities and possibilities for others. We should give because we have received.

At this point I tend to think about generosity of spirit as just this: grace. Grace: unmerited favor. Giving and extending goodness and honor to others without considering their “worthiness”. Grace: purposely working to be thoughtful, honest, loving, and considerate to everyone, regardless of what they can do or can’t do for me. They are human – Imago Dei – and so am I, so I must recognize, value, and uphold their dignity through true appreciation, encouragement, and good will. I fail at this all the time – I am so easily swayed into favoritism or laziness – but it’s what I try for.

Anyway, over the last couple of months as I’ve worked to finalize artworks and frame them for the shows I have coming up this year, these ideas of generosity of spirit and grace have been coming up again and again. People have been endlessly helpful to me. People like my wife giving me time to work long hours, allowing me to take over the entire house as my own personal workshop, and editing/proofreading my writing. People like Matt Moyer, David Spear, and the Larsons providing me with vehicles for collecting materials and shipping artworks. People like Shannon (a former student of mine) giving my current student Danielle detailed information about their areas of interest just because I asked. People like Brooke and Danielle hanging out with my wife to encourage her during this time of intense work. People like Jake and Aarik building me up, supporting me with IPAs, pizzas grilled outside in the snow, good talks, good music, and a vision for the future. People like Natalie creating such a beautiful arena for ideas (and for getting engaged to the Kilngod). People like Ian and Bruce selflessly working with me on upcoming shows.

There are so many more. I could write dozens more names, reflect on hundreds of blessings from people near and far. And I could write and write, finding more ways to define generosity of spirit. The ways of understanding the reality that we have nothing that we have not been given are endless, and they’re an endlessly worthy engagement.

Be generous, friends.

Shades of Gray: Drawings in Graphite

Ridderhof Martin Gallery
SHADES OF GRAY: Drawings in Graphite
January 21 – February 25
Preview Reception
Thursday, January 20, 5-7 pm

Included artists:

Lea Anderson
Matthew Ballou
Gianluca Bianchino
Elaine Kaufmann
Darice Polo
Lana Stephens
Christine Weir

Show Statement:

Shades of Gray: Drawings in Graphite presents the work of seven artists from Missouri, New Jersey, New Mexico, New York, Ohio, and Washington, DC while exploring a variety of ways that graphite is used by contemporary artists.

In the past, graphite was relegated to use as a medium for preparatory studies that would later be reworked into more finished work in other media. However, due to a renewed interested in drawing among contemporary artists, it is no longer only a means to an end. The use of graphite provides a surprisingly common ground for the realization of each artist’s vision despite such diverse inspiration sources as architecture, contradiction, filtered memories, irony, isolation, obsession, phobias, scale, scientific inquiry, and social consciousness.

Above, one of the works I’ll have in the show, Established (Job 38, Strapped), graphite on paper , 2008, 16 inches in diameter.

Perhaps My Favorite Christmas Song

Above: Simone Martini’s famous Annunciation from the Uffizi in Florence, Italy. Not my favorite annunciation image, but one of the most iconic.

Below: Sting’s Gabriel’s Message, a 1987 track from the charity album A Very Special Christmas. It’s definitely top three for me as Christmas tunes go… enjoy it.

Vacation = Work

This Thanksgiving Break my wife and I decided to stay at our home here in Columbia, MO rather than going to visit family for the holiday. There’s a lot going on for us, and for my work in particular. There’s no time to take a break.

I’ve got three significant shows coming up. The first is a wonderful show at the University of Mary Washington Ridderhof Martin Gallery in Fredericksburg, VA. The exhibition is titled SHADES OF GRAY: Drawings in Graphite and will run from January 21 – February 25, 2011. I’m particularly excited about this exhibition as Joann Moser, Senior Graphics Curator from the Smithsonian Museum of American Art, will be presenting a lecture and placing the work on view in context. Below is one of the four works of mine that will be included in the show.

Anthropology (Conceits of Knowledge #3), graphite on paper, 38 by 42 inches, 2008.

The next show I’m involved in is a solo show at the Barrington Center for the Arts at Gordon College just outside of Boston, MA. The show is titled Redeeming Tensions and will feature approximately 40 paintings, mezzotint prints, and drawings. It’s the largest show I’ve ever attempted. It will run from February 5 through March 19, 2011. Below are two of mezzotint plates I’ve been working this week. The finished works will be printed and appear in the show.

Lamentations Chapter 3 Verse 8, copper mezzotint plate, 2010.

Lamentations Chapter 3 Verse 14, copper mezzotint plate, 2010.

The final major show I’m involved in will be a two-person exhibition at the 930 Art Center in Louisville, KY with Tim Lowly, one of the most amazing representational painters working today. It is an extreme honor to be asked to show with him, and I am super excited about our show of tondos. I’ve got some work for this show underway but since it’s a while until the show opens I want to keep that under wraps – the run should be June 17 – July 31, 2011.

So, as you can see, I don’t have time to take vacations from the things I love, the things I’m passionate about… and I wouldn’t want to. Faith, family, art making, community, teaching; I life for and in and through these things. They may all seem like cliches to some people, but I’ve got a full life and a full plate. I love it and I am thankful for it.

Inspiration – Jusepe Ribera

Over the last few years my work has turned on a conception of the natural geometry of the body. You can see how in images like this (“Collapse” oil on canvas on panel, 48 inches in diameter):

or this (“Revealer, Forced” pastel on paper, 23 inches in diameter):

that I am really focusing on a kind of geometric tension in the positions and movements of the body.

A lot of this has come from my interest in the work of the great Spanish painter Jusepe Ribera. In 1610 he followed the call of Caravaggio (who died that same year) by traveling to Italy to see the master’s work. Here are a couple of my favorites:

“The Flaying of Marsyas”

“The Martyrdom of Saint Phillip”

 

 

Color Drawing, Fall 2010

Another semester, another feeling of pride. My beginning color drawing students are pretty awesome.

Carrie Casper Reflective Still Life

Dustin Roberts Reflection Self Portrait 1

Alex Forkin Reflection Self Portrait 2

Alex Forkin Reflection Chromatic Environment 2

Katie Kullman – Reflection Self Portrait 1

Nikki Warren – Grid Project 2

Ashley Claussen – Reflective Still Life