Tuesday, September 10, 2019

This is How the Wind Shifts

It's been almost a year since I have updated this website. Here's the new one!

I got a message in a late August evening from my Colleague and Friend Jeffrey Cortland Jones, cool thing is he was asking me if I wanted to be in a show to open the season at his Curatorial project he's been working on for years in Dayton Ohio called DIVISIBLE.

https://www.instagram.com/divisible.fs/
Here's the best way to find the gallery online.

Naturally I accepted and began wondering which works were going to be included. I knew I wanted the three new mid-large sized paintings I recently finished this year, along with some smaller works I found a great balance of paintings that I felt would make a strong showing to the public.

Friday I sat forth in the car with the two largest 48X36" before the back seat and the rest fit just perfect in the trunk. Everytime I set forth in a car with an exhibition full of artwork I am reminded of the stories I would hear from other painters before me, where they painted a certain scale simply out of necessity to how to move and store them. I never wanted to be one of those painters. I used to really like it the best when I could use my Fathers truck, since you could easily fit a 6foot by 5 foot painting in the bed, actually you could fit more like 5 of that size if they aren't super textural. Been wanting to get a truck again for a long time.

Once the paintings were moved into the gallery, Jeffrey sat about hanging the show and did so within ten minutes, the guy knows how to hang an exhibition and he doesn't mess around with unneeded things. We changed one painting wall for another since the Green and Blue (07-04-2019) painting was originally on the wall of the red paintings.

The evening was tremendous. Loads of people to talk with all evening. Lots of great questions and happy faces. Was very nice to meet you and laugh with you.

Thanks to Jeffrey Cortland Jones and Heather Jones for the opportunity.

CONNECT








Photo by: Jeffrey Cortland Jones















Tuesday, November 27, 2018

New Reactions to Silver.

I have never been interested in seeing myself in a work of art.

Recently my friend Jimi Gleason has been asking me about silvering a couple of my works as he really wanted to see what they would look like in person. With their multiple multiple viewpoints, they seemed primed for something like this. I have been working on these with the idea of seeing-through, being able to see the front of the painting and the back at the same time has been of interest to me since the night when I envisioned the idea of what became the "Testers". He makes these sweet paintings that are coated with the new silver deposit ability to paint upon anything and make it look like dipped chromoly. His use of the spray booth has really made for some wild paintings without the overt idea of selfie-expression. His works are more about the gleam of light, the reflection and refraction of light and how it plays on the already painted surface. Instead of spending more time trying to describe. I'll let Eric tell you the story of Jimi's work through the eye of his camera.


JIMI GLEASON : SILVERING from ERIC MINH SWENSON on Vimeo.

I've been a fan since I first saw this video, and the others Eric has made of Jimi. You can find them all on his vimeo page.

Jimi has been asking me about silvering a couple of my Testers for a while. So A few months back I got a box together and sent two of them to him. But not before I did a serious talk with him about the methods and means to silver these small things, as he's used to much bigger work, as you can see in the films.

He told me he himself wanted to be able to see what the silver deposit did to the yarn and texture, and as a painter, he too wanted to see how it was going to play out over the entire painting, front, back, sides, and insides. The insides were the most interesting to me too, as that's always the part I wish people would take more interest in but they don't seem to. Not that I have heard of anyway.

So Jimi told me of the process and you can see bits of that process in the photos he took during the priming and silvering process. I hope you find it as interesting as I do. The idea of being able to see how the light plays on the many many ridges, peaks and valleys of the texture really have my eye dancing. Can't wait to see em in person, even though I have already been told I may not ever see them. Seems things are a changing in my world. I'm happy about that.

Here's the pic of them as they left my place. Primed and painted, but obviously not the same way I would normally let them out of my hands. It definitely felt weird to see them head out, knowing they weren't ready for the world just yet.


Once they made their way across country to the west side, I got one celebratory photo of Jimi showing his enjoyment of the work so far. Then a few days later he sends me this...


The red definitely woke me up. WOW I thought. I am not a big painter of red paintings but these really opened up new ideas for me which I pretty much began on new work a day after. This is apparently one of the priming stages he has to go through to silver.

And now for some silver. I'll try to get the order of photos correct since he had to silver a few times in order to get the work looking the way he wished it.






These next photos are after the work is complete. You can see the difference between the gleam of one and the other. The previous work looks like it's been nickel chromed and has a slight coppery look to it. Once the silver has been completed it looks much more like a true dipped chrome piece.






Damn it looks good doesn't it. You can also see more easily the interior, which gives the casual viewer even more to spend time with. For me, the lightening of the interior by use of reflections in silver, is quite the eye opener, I spend much time peering into the dark heart of my paintings and now it shines back at me. As soon as I saw this, my mind began coming up with new directions for works like this. So much to do. So happy for this opportunity that was given to me by a fellow painter. There aren't many these days that have a true sense of collaboration, and I'm so happy to have found one. I look forward to trying more ideas with Jimi in the future. Might even have to move out there.

So I say Thank You for reading this. Thanks to Jimi for your help, guidance and collaboration, and for the photos. And Thanks to Eric Minh Swenson for the videos that attracted me to so many LA based artists.

Sunday, September 30, 2018

Drawing... the search for new ideas.

For those of you who actually visit this place of mine. I just wanted to begin by saying Thanks for your being there. Sorry it's been a while since I updated this page. It hasn't been a big concern of mine since I found out they were taking some of the interface away, but learning of it has really done nothing for me desiring to have a new place to put up work. So this page will stick around and I'll be updating it more and more until I can get a regular site up and running again.

Since getting back from NYC in July. I have been making new work of many different types, writing about my previous work and the new ideas it breeds each new day that dawns. One of the new things I have been working on is a series of drawings that connect to the TESTERS I have been working on. Along with a new breed of painting I have only just now began to make. Coming out of the TESTERS, which are freestanding and painted on two sides. These new works are a reduction of sorts, only painting on one side, and the work being hung. I've got ideas for new large scale works but am in need of places in which to put them. I'd like to take this idea to the streets, but at the same time it is also a wonderful idea for galleries. I refuse to make work that only has one outlet in mind. One cannot allow oneself to stagnate, especially when you have found something that lends itself so well to many different methods of working. I find the more methods I have of getting work done, the happier I am. 

These drawings have really opened my eyes in another way, as I am trying to take a heavily dimensional surface and turn it into a flat 2 dimensional space. Even at that they sure give way to more and more ideas.



























Saturday, June 23, 2018

HIVE

It's time to share this video of my first HIVE. This is the second CUBE that I have made, this one being so vastly different, I had to come up with a new way of describing them, so I refer to them as HIVE now.

I began the idea of working with a cube format since 2014 when I had a vision of a giant cube painted and wrapped like my paintings I had just begin creating in earnest a few months before my residency in Tamaqua Pennsylvania. It was there that the dream struck of a giant cube in a gallery space that just happened to be Luhring Augustine. Funny how I tend to visualize things in that space, mostly because it's a gorgeous gallery.

Weeks after this vision I began preparing to make my first CUBE. I didn't have much for materials at the time, seems to be a theme with me, so I made a small 9 Inch CUBE, painted it's chassis blue, wrapped it in blue (inside and out) and painted upon it, the inside and outside.

It was a few years before I was able to begin my second one (this one). This time I was able to begin and finish making it over a period of a year in the studio of Painter Peter Reginato (also a sculptor). After I had the task finished of wrapping each element that I wanted to paint upon, I began painting. Once painting was finished, I had a change of thought for the name of these works of art. I now refer to them as HIVE. This is #1 ('06-03-2018') 16 Inches Cubed. Acrylic on Acrylic Yarn on Painted Wood Chassis.



https://www.instagram.com/jeffreymcollins/

Friday, June 22, 2018

Luke Murphy at CANADA NYC

Luke Murphy's exhibition at Canada is one I'm glad to visit again and again.

While I stand here typing this into my phone a skull just ran up the side of his piece titled... '1 Degree Off'. A tall piece at over 100 inches. A slew of vertical clouds stream down the digital surface of the work. Ever changing from green and yellow to...hey there goes another skull. So many variations of colors that a painter like myself just can't help but enjoy. And now my peripheral compels and it's a barrage of yellow with the intermittent skull to give, maybe, a sense of the post modern...who knows. I'm not trying to tell you what he's trying to accomplish here. I am simply enjoying the work in all it's glitchy glory. 


Luke is not afraid to give away information about how they were made. Especially if you have a background in electronics, which I do. To me, the uses of the digital materials makes the work all the more interesting and enjoyable. Eyes darting around the cabling and computers sitting to the sides, obviously a part of the piece. It's haphazard like installation really brings so many things to mind, obviously the installation wasn't rushed, but it looks like it was left there. The cabling and keyboards, just a part of the work really tells you this was not JUST left there, but systematically placed. Maybe


Sitting here in the gallery and thinking about that I can't help but wonder how a collector would place a work from this show in their home. These sculptures in light look fantastic here in the gallery with lots of space around each one, would the power be lost in a smaller more residential space? I don't know, but I wish I could try. Would dig having one of these in my home.


P-10 Tower/Piece of work: 2018
Makes me think of the Grenfell tower in England that was on tv as it burned for hours one early spring morning. 

This is where the viewer gets to do their thing. Use your imagination in each of these works and there is so much you will be surprised with what your imagination helps you with.


Everything Must Go: 2018
On my first visit it was the piece that spoke to me the loudest. With it's slowly changing colors every now and again blasted with what seem to be stamps in the coding, growing from super hot pink to dark dingy browns. A selection of specific ever-changing glitches streams across the second grouping of LED panels in the work. It's placement is one of the most fascinating as it really looks as if it was literally thrown on the ground and the artist saw it and immediately said "that's it!" Makes me wonder what the placement has to really do with the artists thoughts.

Come spend some time with Luke at Canada through July 15th.

And don't forget to see the mystery piece in the exhibition, here's a hint, it's not lit up.









Thanks for your enjoyment. Jeffrey Collins

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