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.


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


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.


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

Saturday, June 16, 2018

Koen Delaere at Galerie Richard (Revisited)

I've been to Koen Delaere's exhibition at RH Contemporary, where I first got physically introduced to his painting. Then it was at Mike Weiss a couple years back. Now he's at Galerie Richard and i'm already looking forward to seeing his next exhibition at the gallery. I stopped by last Sunday afternoon, slight drizzle in the air, at 121 Orchard Street, just slightly north of Delancy. Right across the street from another French Gallery...Perrotin. They are both kicking ass in the Lower East Side.

Delaere has been making tremendous work since I was introduced to him years back right at the time of his exhibition at RH Contemporary, which if you don't know, was Restoration Hardware's jaunt into the world of contemporary art, and in the few years they were around they introduced the world to quite a number of artists that are getting some well deserved attention these days. From Delaere to Chris Succo to Manor Grunewald, they are making big waves these days and I got introduced to them because of this gallery. Too bad they didn't stick around longer.

The painting style of Delaere is definitely his own, no one out there paints like he does. Full of energy and serenity combined, his work has grown into a more fluid sensibility with the changes in his literal painting direction. His work of years past was painted with the ridges moving more in a level plane with a few deviations, now the ridges tend to be all over the place, usually in a diagonal manner which allows for the paint to have more fun on it's own as it flows and drips down the peaks and valleys of his surfaces. The new work has a greater sensuality to it, one that almost makes you wanna touch the surface...BUT DON'T.

My personal favorite of the show was the painting in the back wall, SLEEPER. To me the title refers to how much more simplified and understated this painting is compared to the others. This one does not have any over painting, only underpainting. Which is quite fascinating to me. Once in front of it you'll see what I mean. From the sides they appear to be slices from topographical maps, each slice revealing another group of mountains doused with color. Each mountainside a new color world waiting for your eyes to enjoy skiing down them in your mind.

Sleeper, 2018

The rest of the work in the exhibition has the same steep angles and super flowing pigments, each with it's own eye candy that keeps your gaze glued to it's surface.

Another is GIRL, a 85 X 59" painting where yellow is the primary color and focus. It's inhabitation of the right side of the work is quite startling, especially when you look some more and you see the resulting drips have made their way to the left side of the painting, Whites, Grays and Blacks taking over the center and meeting up with the yellows on the left side, one of the little things that need to be seen is on the sides of Delaere's paintings, this is where the drips continue their journey to the bottom of the canvas. So much visual information here to spend hours with.

Girl, 2018

I get the sense of snow covered peaks in a few paintings. Sometimes I wonder where a painter gets their ideas from, is it something concrete or something dreamt, and in this painting with a heavy white dusting of color, I wonder if he was skiing or maybe there were a deep snow when this painting was made, or perhaps just the idea.

Click to enlarge this one, you are going to dig it.

Thanks Jean-Luc for the photos. The exhibition is up and running until the 24th of June 2018. So you've still got time to get in a few visits.

A few notes from the gallery press release...
In each of his eight vertical paintings made in 2018, Koen Delaere has created three-dimensional geometrical lines, mostly diagonal lines, which catch drops of paint, creating a spontaneous disorder into ordered patterns and a colorful vigorous energy into peaceful white stripped canvases.

Delaere’s paintings are the result of a physical and energetic interaction with the material: canvas, thick layers of paint, colors and textures. The artist first made the geometrical deep layer of translucent paint lines on the white canvas. Then he lays down diagonally the painting on the floor and against the wall. Finally, he pours paint on the top and the paint spontaneously falls down from one line to another following the diagonal lines. All artists know that opposed to horizontal and vertical lines, diagonal lines bring more dynamism, complexity, uncertainty. Piet Mondrian forbade the use of diagonal lines for artists. Effectively these new works by Koen confirm in a way Mondrian’s comments on diagonal patterns. The flow of paint seems much more unpredictable, like a bowl in a Pachinko machine. Koen Delaere‘s procedure of work, combining a kind of grid and a spontaneous development, can be compared to Jeremy Thomas’s process with sculptures, which transforms geometrical patterns into organic shapes.

Thanks for viewing. Hope you enjoy the exhibition as much as I did.
Jeffrey Collins

Friday, June 15, 2018

Jeffrey Collins - Special Event Exhibition NYC

So during my last trip to NYC, I was in the process of making some new work in Peter Reginato's studio. He's been very kind to me in letting me work some in his place. I didn't get too far that trip with my work but I did get the basic structure done for what was eventually to become HIVE #1. A new development in my work, delving into perception and seeing how deep I can get into ideas of perception and comprehension of vision.

I got here in May and began working on the piece again. This time I definitely knew more of what I wanted to do and how to go about doing it. Funny how you think you know what you are doing when trying something new but after you actually attempt it, you are blessed with so many new thoughts on how you will make the next one and the next one. Ideas flow like water. Get out there and stick your hand under the faucet.

Fast forward to June 13th. I had my first one person show at Reginato Studio in Soho. I presented a large group of work to fellow patrons and friends, and the reception was wonderful. Lots of great conversations and lots of wonderful warm feelings after.

When I spoke with Peter about my upcoming trip to the big town, I asked if he'd be into helping me do an exhibition in his loft, he agreed and we sat about making it happen. One thing I really wanted to accomplish was to have two large paintings to really show off the depth of what I do. Unfortunately only one got made but it is a stunner nonetheless. I also was able to finish up a number of Rope artworks for exhibition. So what the public was seeing was a true overview of almost ALL the types of work that I do. From Paintings on the wall to freestanding paintings, to the cube structures.

Well, enough talk. Here's the pics courtesy of Peter Reginato, Allen Strombosky and Francine Tint.

And now photos with people in them....

Art Guerra, Anders Knutsson and John Zinsser

Me speaking with Michael Paoletta.

Brad Darcy and Rodney Dickson

Daniela Zahradnikova and MD Tokon

Anders Knutsson, Peter Reginato and John Zinsser

Allen Strombosky and Jeffrey Kurland

Horst and his lady friends.

Look at that light in the painting. YES!

Peter Reginato and Myself

G Scott Lamanna hanging out.

Jean-Luc Richard checking out a painting

Francine Tint and Daniela Zahradnikova

Rodney Dickson, Myself, Nils Hill and Ivy Dachman 

Francine Tint, Art Guerra and Laura Fay Lewis

Daniela Zahradnikova, The limited edition Peter Reginato bag, Myself, MD Tokon

Laura Fay Lewis and Daniela Zahradnikova

Francine Tint and Myself

Francine Tint with one of the limited edition Peter Reginato handbags.

Francine Tint and Myself

Anders Knutsson and Rodney Dickson talking painting with my painting.

Joyce and Moishe Kampin

Francine Tint

Ivy Dachman and Nils Hill

Jean-Luc Richard with Peter Reginato

Horst Hoetzer, Myself, and Laura Fay Lewis

Wish I could have gotten photos with the other people who were in attendance, so many wonderful people stopped by and we didn't get pics.

Thanks for coming by. The show is still on until the end of the month but you need to get in touch to make an appointment as these are very busy times. THANKS!

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Columbus, Ohio, United States