1.29.2008

Today Is The Tomorrow That Yesterday Promised


Today Is The Tomorrow That Yesterday Promised
Mixed Mediums
30"x40"

White Denim - Shake Shake Shake.mp3



1.25.2008

Today Is The Tomorrow That Yesterday Promised Continued


staying restless
continuing to push/pull the paintings
stay with me here
it's going to get bumpy

Oil and Acrylic on Canvas - 30"x40"

Unrest - So Sick.mp3
[courtesy of pimps of gore]

1.23.2008

To Get a Better Hold You've Got to Loosen Yr. Grip

On Wednesday I was asked to present my work to a class of students at Evergreen College in Olympia, This was the beginning of an outline/bullet point and thought I'd share...

To Get a Better Hold You've Got to Loosen Yr. Grip

I first stumbled into art, or painting specifically when I was just out of high school and enrolled at a local community college. It was a interesting time, I was living in the suburbs of Federal Way, just south of Seattle by some twenty miles and constantly going to the city to inform myself. I had through high school, been listening to loads of Punk and New Wave, thanks to some friends of mine that I found interesting and curious. I recall seeing and hearing records that were utterly unusual; graphics, images, instruments, loud, rebellious, beautiful. I would often purchase records as a dare, it's how I discovered
Einst├╝rzende Neubauten, and Soviet France. I would seek out shows by these and other bands at various independent venues and thus began this trail I still find myself on. I saw several shows at a gallery/venue run by Larry Reid called Roscoe Louie. Shows by the U-Men, Ten Minute Warning, Jodie Foster's Army, inside a gallery featuring shows by local artists that struck a nerve. Often it was antagonistic, both the art and the music, but I persisted with curiosity, intending to inform myself as I went, taking note, reading, saying yes instead of no.
This also corresponded with school, I walked past the art studio at Highline Community College, and decided to step in. It was electric, easels, paintings and drawings hanging in this loft like environment. I immediately switched from being a business major to an art major. I began going to Saturday classes at Pratt in Seattle. I knew I wanted to continue this to a four year school, so I began going to the colleges here in the state, and seeing faculty shows, student shows, raising my game so to speak. At the time I was really charged by the current international and national works featured in Art In America, Artforum, and Flash Art. I read up on Joseph Beuys, Georg Baselitz, Cindy Sherman, Barbara Kruger, Sherrie Levine, Anselm Kiefer, Nam June Paik, and on and on.
I had seen a faculty show at this time at Western Washington University, and was also really excited by the sculpture that was found all around the campus. One artist in this particular faculty show threw me, and stuck with me: R. Allen Jensen. I found him in class that day doing a critic, and decided to take a look. The appearance that he made and the way he would talk of the work that the students were doing hit a note for me, and that was that, I wanted to enroll.
The next two years were so formative to my growth as an artist, I often miss those days. Hard critics, pushing the work in different directions, taking weekly lumps from both faculty and my fellow classmates. It was fantastic.
Music was still an ongoing interest of mine, and Bellingham had a great scene itself. Estrus was just beginning to put out records and showcasing bands both locally and bringing in bands from all over the world with their Garageshock Festival. I played music with some other art students, and kept my ears tuned as well as my hands. I kept interests on both Seattle and Vancouver BC, and this was encouraged by R Allen, or Bob as we were allowed to call him. I struck up with a new gallery that had just begun in Seattle around the time of my graduation, Galleria Potatohead, and did my senior show and opening shot in Seattle in one fell swoop.
A year later and another show at Galleria Potatohead and more interest peaked. Linda Farris did a studio visit, and thanks to Shawn Ferris, her Director, I was included in a group show. This was followed with another solo show just six months later, and I was rolling. Failure was lining up to kick me, as after my second show with Linda Farris, she announced that she was closing. Linda was a powerhouse art dealer, I practically made a living from her sales. It was difficult post Linda, and I was a bit thrown ego-wise, when I went to other galleries and sought representation and was turned down, over and over.
Fortunately Elizabeth Leach stepped in and starting showing me in Portland, again, a powerhouse dealer, and another director in Miriam Rose that loved what I was making. Later was to come Ester Claypool Gallery here in Seattle, followed with Circa Gallery in Minneapolis. The work was mutating and influenced with all sorts of references from childhood; Slot Cars, Croquet, Benday Dots.
Staying curious, attempting to say yes to ideas more than no, and getting a better hold by loosening my grip.
[To Be Continued]

1.18.2008


Work In Progress - 18"x24" - Oil on Canvas


1.16.2008

Distance


[click image to enlarge] 22"x30" Oil and Acrylic on Canvas

Hefner - The Hymn For The Cigarettes.mp3


1.11.2008

Open House

Last night there was so much going here in Seattle that one could have mistaken so many openings as a first Thursday night. Robert Storr was giving a talk on the UW campus, Ken Kelly was having an opening at Howard House Gallery, Shaun Kardinal was part of a group show at SAM Gallery, and I was fortunate enough to be a part of the new Grey Gallery group show GO!. Saw so many faces, painters Molly Norris, Juan Alonso, Richard Hutter, Rachel Maxi, Karen Ganz, and Lisa Buchanan. Grey Gallery is going to be a nice addition to my neighborhood, being that it's just around the corner from my studio. That Erik Guttridge[owner] and Jordan Howland[director] are friends of mine, well that just makes it icing on the cake!

[click image to enlarge]

The Clash - Time Is Tight[Booker T and the MG's cover].mp3



1.10.2008


Work In Progress - 18"x24" - Oil on Canvas

1.09.2008

Scopa


beginning some works on paper, the work is fueling me. I'm so curious here in the studio, day to day, excited...
[click image to enlarge
]

1.08.2008

Today Is The Tomorrow That Yesterday Promised


Today Is The Tomorrow That Yesterday Promised - Oil and Acrylic on Canvas - 30"x40"
[click image to enlarge]

My Little Airport - I Don't Know How To Download Good AV Like Iris Does.mp3


1.04.2008

Progress


Work In Progress - 30"x40" - Oil and Acrylic on Canvas

Paleo - Half Empty I Know The World Is Half Full.mp3
[courtesy of Paleo.ws]



1.02.2008

Everywhere Was Everything


Oil and Acrylic on Canvas - 48"x60"
[click image to enlarge]


Wheel Of Fortune



One way of going is to bang the door your last time
out of the house, your rage hanging like dangerous gas
on the sun porch where your wife and children are crying.
You send them postcards from Sweden saying you're sorry
you took all the money out of the bank and you hope
they're not going hungry. You meet a blonde someone
you saw once in a movie and boy is she lovely.
You've taken up painting and already have a dealer
in New York, another in London. Five of your oils
are in European collections and a new museum
in Amsterdam has signed you to a five-year contract.
If it wasn't for one reviewer, a man whose name
sounds a little like the name of your favorite river,
who calls your best shots amateur and once in the Times
said you paint like some retarded spastic, you'd really
be happy. You keep his reviews in a scrapbook
and each night plan his murder. Naturally, you no longer paint.
The museum is suing you. The blonde is having an affair
with Burt Lancaster. Tired and broke you go back home,
the one you slammed out of when this poem began.
You sit there contrite in your rocker and watch TV.
Your wife is cooking your favorite clam fettucine.
The children say you watch too many crime shows,
you ought to take more walks.


Richard Hugo 1980