Making My Work Mean So Much More

My wife, Alison, and I are beginning the process for an international adoption. It’s something we’ve thought about for a long time and something we’re excited about.

Above: me and my daughter drawing. 

There are a lot of reasons we’re interested in this and there are a lot of logistics and options to consider. There’s tens of thousands of dollars to raise, most of which we don’t have just laying around. My wife is much more skilled than I am at holding all of these different issues in mind. She’s able to plan and strategize at a level that I can’t really even understand. So in the midst of this process I really just want to be able to DO something, to add something to it, to help make it happen. 

As I think about this huge thing we’re getting into, I really just want to make sure that one of the other huge things in my life – my art-making – plays some role. I want to make my work mean more than perhaps it would on its own, more than it would do just hanging on a wall. I want my work to actually do something about the nearly 150 million orphans in the world. If, by some miracle, my artworks could help us bring one or two kids to a life of love and intentional care, then I want to do whatever I can to cause that to happen.

Above: Seven Mandalas for the Murky History of Beginnings and Endings, #5. One of the pieces for sale to help fund our adoption. My daughter Miranda helped me make this one.

So I’ve opened up a little etsy shop that features about 50 different artworks, with more to come. My hope is that I can have these works – images that I love and worked very hard to craft – become part of the means by which Alison and I do a different kind of work in the world… something that can make all the difference to a child who needs a mom and dad. 

If you resonate with this sort of thing, I hope you’ll consider going to my etsy shop and purchasing a work. If you don’t see anything there you’re interested in, please check out my flickr and my main website as some of those works are still available as well; I’d be happy to hear from anyone who’s interested in any of the works.

What I’ve been musing on recently

I’ve been thinking about overtly shifting the direction of my work for a while now – perhaps a year. I don’t know that this shift would be easily discernible from the outside, but it represents a significant change of focus for me. As I look back over the last year of my practice and then cross-reference what I’m seeing there with some of the artists and artworks I’ve been looking at during that time, I can really see some connections forming.

For instance, check out these recent pieces:

The Teachers, Mandala for the Murky History of Beginnings and Endings #1, Portrait of Miranda at Thirteen Months, Two Bells, and The Seedbed #1.

Then compare their compositional formatting with aspects of the works of artists I’m looking at here:

Richard Diebenkorn, Miyoko Ito, Barry Le Va, Nicholas Byrne, David Rabinowitch, Julian Stanczak, Bernd and Hilla Becher, Marcelo Bonevardi, Frank Nitsche, Sharon Butler, and Vincent Fecteau.

It seems to me that my previous forays into more formal explorations – such as with the Locus Series (book here), and the conceptually interconnected Quintessence Series and Dodecahedron Series – are becoming more and more deeply apparent in my main body of work. In some ways I’m finding myself less drawn to the figure as a necessity and more drawn to the composition itself. I’m deeply interested in the perception of formal dynamics and the sense of haptic maneuvering that can take place within two-dimensional forces.

So it is that my recent miniseries, three of which are shown above in progress (9 inches in diameter, collage, gouache, acrylic and graphite on paper), have come about. They call back to previous works, such as this one from 2005, which was part of a side project I did while finishing up grad school (I needed a break from my thesis paintings):

First Bend, Oil on Canvas on Panel, 14 by 23 inches, 2005. Destroyed. Click to enlarge.

Anyway, who knows? We’re all moved and pressed and pushed, often by things we don’t entirely recognize. That’s why painting is so much more like getting lost in the woods than it is like jumping in a car and driving to the store for milk. It’s not meant to be that simple.

If it were that way there would be no discovery, no evocation beyond what we already know… and what good would that be?

Transient Geometries at Antelope Valley College

Quintessence #10, multiple monotype and woodblock prints, with acrylic, graphite and gouache on paper, 2009. Click to enlarge.

I’ve been included in a small group show at Antelope Valley College, which was organized and curated by AVC Professor Christine Mugnolo. I’m honored and excited by my fellow exhibitors: J. Jordan Bruns, David Eddington, and Lisa C. Soto. Click here for the AVC Gallery page describing the show!

Full disclosure: I went to grad school with Christine and she was the subject of one of the shows I worked with Gillock Gallery to organize back in 2006. I wrote an essay about Christine’s drawings and Gillock published a small catalog for the exhibition containing the text and a selection of her work. I’m really proud of that entire project and hope you’ll take a look here.

Here’s one of the drawings from the show – Self Portrait on Olive Ground, Pastel on toned paper, 24 by 18 inches. Click to enlarge.

Two New Books

First off, I received my new Diebenkorn book this week. Richard Diebenkorn: The Ocean Park Series is lush (in design), expansive (it contains many reproductions), and – best of all – it’s full of never before seen (in broadly-published form) paintings, prints and drawings. I’m doubly charged up by this book since I (and one of my students, Marcus Miers) are heading down to Fort Worth to see the Diebenkorn show next week!

Also, my own slim tome – 62 pages, 9 essays – just came out, published by Neoteric Art in Chicago.

It’s available in standard paperback version and in an ereader version. It should be up on Amazon in a few weeks as well.

Some New Things

My latest bit of writing, “Our Weights” is up at Neoteric Art. Check it out HERE. Above – Condition, multiple layer monotype in oil on paper, 2005.

Also, there is short and sweet review of my show at Orr Street Studios Gallery by Shea Boresi, HERE. If you’re in Columbia, Missouri, please come by the closing reception for the show on October 7th at 6pm.

And above is one of my best birthday gifts – a pair of glass tumblers, handmade by Ox-Bow awesome-lady Becky Wehmer! Thanks to my wife for getting them (a sort of end-of-Ox-Bow-decade-remembrance gift)!

Here’s a shot of the inside one of them – awesome!

“The Bell, Struck” – Tondos by Tim Lowly and Matt Ballou

I’ve got an show coming up in Louisville, KY with Tim Lowly at the 930 Art Center. Click HERE to see the 930’s website for the show. Click HERE to see a gallery of some of the work I’ll be presenting there and HERE for work from Tim. I’m really looking forward to this exhibition! If you’re going to be in the area this summer, check it out!

Above: Bells, acrylic on paper mounted on panel, 24 inches in diameter. In progress.

Craft Studio Gallery Show, Presenting Context

I’ve got an installation up at the Craft Studio Gallery of the University of Missouri in Columbia.

I proposed the show and brought in the additional artists and their works. See below for more shots of the installations and to read our group statement. Be sure to click on each artist’s name to see more of their excellent work.

The Reception will take place February 19 at 4pm. Hope you can make it. Check back here soon for some details from the installed contexts.

Work and Installation of Context by Nathan Sullivan.

Work and Installation of Context by Derek Frankhouser.

Work and Installation of Context by Sloane Snure Paullus.

Work and Installation of Context by Catherine Armbrust.

Work and Installation of Context by Marcus Miers.

Presenting Context Group Statement

Artworks are almost always presented to viewers far removed from the circumstances of their creation. The inspirations, research, sources, methods, and background information that form the basis for all artworks are usually unavailable to the audience. This amounts to a veil of mystery surrounding the finished work, masking and focusing it. Artworks appear to have simply sprung fully formed into the world, though we know this to be false. This exhibition proposes to change that – at least in some small way – by displaying singular artworks in tandem with the ephemera that lead to their creation. Alongside completed works, artists will show some background to the art: inspiring data, evocative objects, images historical and pop cultural, as well as the more traditional sketches showing trial and error. Taken together, these artifacts will serve to illuminate the experiences artists go through to process their ideas and actions into finalized pieces of art.

Exhibiting Artists

Visiting Assistant Professors Matthew Ballou and Nathan Sullivan
MU Graduate students Catherine Armbrust and Sloane Snure Paullus
MU Undergraduate students Derek Frankhouser and Marcus Miers