A contemporary duo of painters named Guyton and Walker are two men who have combined their artist identity as a collaboration. If traditional pop art still lives on it’s in this work. Fruit is unwrapped and thrown in fields of deco pattern and geometric shapes. The paintings are big and bright and are very attractive to the eye. The duo has shown at the Whitney, Albright-Knox, and are in the MoMA collection but I’ve never heard of them until today. The work is fruitful and I hope it develops in other directions.
Archive for the Painting Category
Andrew Wyeth is not my favorite artist Dali is. But his painting Chistina’s World is spectacular…a picture with a story of unlimited possibilities because it is the sole start of story. Something is waiting for the woman in the house far away. It makes me unsure what her fate or feelings are. Her body seems tied down and cannot leave the area. Is she escaping or recalling the force that draws her attention to the line of sight. The building is dark and lifeless. A piece of cloth hangs from a line and it almost looks like a figure. The whole scene is cinematic and can stir emotions of fear, curiosity, sorrow, and insecurity held together by a bond uneasiness. The dreaminess and scariness all rolled into one and there is no catharsis or conclusion. It is a sad story wrapped into itself. The picture is a point of visual origin for the never ending dramas of the main hero facing against the unknown challenges of an antagonist.
I’m taking no credits in painting this year and have never taken a fully devoted painting course. But I am still painting this year on the side of my studios just to see what will come of my work. In turn my living room wall and corner have become a mini studio. Right now I’m using acrylic but soon small oil paintings too. As for the glass I found these large glass windows that were discarded by residents or landlords in Alfred due to renovations. I thought I could use these for neon at first.
Lately in my sketchbook I’ve been illustrating deformed or mutated individuals based from research pictures on the internet. Maybe the thought was drawn out by Sylvie Demers paintings and prints junior year, but I conceived the window as being a frame of reference for ill-looking people to peek into the company of the viewer. Also since the paintings can be looked at from two sides made a conceptual interest arise too.
Painting on the glass is fun since its smooth and fits my loose sense of laying down color and shape in painting. The glass allows mistakes to be taken back as well. Using a little amount of water on my finger can erase portions of the picture. But using too much water mixed with paint on the brush can change the painting against my wishes. I’m not sure how many I can make of these since I need more window frames and I’m not sure how long the images will last. I’m afraid to move them around if they shatter or the paint could get scratched. I’m contemplating possible using them in a video or photo project by erasing the painting from the windows as a performance. Until then they will continue to sit against my walls untitled.
Recently I glued a pair of googly eyes onto a small oil painting I made from an abandoned breakfast sandwich left outside my painting studio door last year. Instead of throwing the sandwich away I kept it for a still life and even after I finished the painting I kept the food in my space for 14 days until someone threw it away. I assume Hope Zaccagni was the one who tossed it for me. I was very attached to the item and even attacked some of my peers when one work night it disappeared and was told Hope came in and disposed of it. I was so mad that I started shouting her name but Nadine Titus and Emily Smith confessed to hiding…I tackled Emily and she got a little afraid. No one was hurt, but I raged for 4 minutes and then laughed.
Currently this canvas is being held hostage with my lady Chloe Tran and it was supposed to be given to my friend John Gill for an exchange of two prints. I’m not sure when or if I can get it back soon for him but I may follow a similar method of modeling and paint some additional sandwiches with the googly eyes. I’m may stop in at Terra Cotta and see how often discarded sandwiches are left sitting on plates. Or I may make sandwiches in my kitchen and paint them in bursts and keep them refrigerated. We’ll see if anything comes of it…in the end I really like googly eyes.
I don’t have any drawings scanned right now but I started sketching in pen internet pictures of human facial deformities and some corpses. After taking a caricature history course the term grotesque was hammered into my mind as a form of bodily condition and setting. I’m also a big fan of David Cronenberg’s use of bodily mutation and decay so I have wanted to get into painting warped human figures. Here are some the sources I copied from today.
Since coming to Barcelona I stumbled onto a well established mixed media Spanish artist. Along Consel de Cent I went into a gallery with an unfriendly attendant. On the gallery walls were loose monoprint and ink brush renderings of bullfights. There was a high amount of energy implanted into the bull charging and the cape swishing a red streak across the paper. Everything was black ink on white with tinges of red smearing. Blood and the illusion of the matadors veil were one. The name of creator was M. Barcelo.
I googled searched but got nothing. I couldn’t understand how respected or acknowledged Barcelo was. Incredibly in Madrid I happened for the first time to visit the Caixa Forum by accident. On display was a retrospect of MIQUEL Barcelo. His paintings took time to grow on me. The oil and watercolors were as messy as the prints. But the splotchy figures in his Dantes Divine Comedy were refreshing from an overused epic poem in image media. Small mounds of paint made slight shadows on canvases and the perception of rocky dirt ground was executed by him too. His working career has spanned before my birth.
But what immediately grabbed was the video of his sculpture in the main lobby. Along with the warped faces he made from metal casts was a huge installation he did in real time with some editing. He and accompanying sculptor had an immense wall of clay before them. They slashed and hacked at the wet clay with sticks and metal. At first their carving seemed arbitrary and unguided. At the climax however the camera shot is way back and you see a scene reminiscent of cave paintings from Neanderthals. Trees, shrubs and rock are captured by the shadows of deep lines in the clay.
Then the pair use clay pancake slabs to form masks on their faces. Blind only with their palms and fingers are grotesque noses, eyes and bone structures emulated. I immediately thought of Tim Burton’s Beetlejuice when Alec Baldwin pulled his face forward when witnessing Marcelo’s first clay facial. Numerous masks were made and accompanied a finished lair of clay sculpture.
As a craftsmen Marcelo is seemingly sloppy and uneducated. But then again most modern spanish artists are. I am now a fan his work and take his name in my head easily. It’s hard to find his distinct work in english so anyone reading just surf around. Since I am on the subject vaguely, the Caixa forum is a big interest for me. I have never heard of a bank funding free open artwork for everyone. A bank supporting art seems cold and devious in America but in SPain its like a civic duty of the company. Near Placa Espanya I have seen work by Christian Boltanski, Sophie Calle, Joseph Buys, and Jacques Herni Lartigue.
Lartique was a rich Frenchman who because he was so wealthy could spend all his time photographing as a young man. He captured the lives of wealthy French at the start of the 20th century. Early photos you could see his fingerprints, scratches, and graininess of an amateur. By the 30’s he was producing glorious action shots of car races, swimmers, skiing, and pretty mistresses. He also did a lot of stereograph work like making 3D photographs. I think I may want to invest in a stereograph camera after seeing the dynamism of his work.
Today I visited the Pablo Picasso Museum in Barcelona. It is home to mostly Picasso’s earlier student and developmental paintings. Above I just posted a young image of him because I had never seen a non bald and wrinkled Pablo so I googled him to see if he was just born old.
Seeing the collection reminded me of the exhibition at the Clarke Institute where I saw early drawing and painting of Monet. What struck me was that all artists have humble working beginnings and take years to reach the accumulation of work and skill that they are recognised for. I often get frustrated that I am not a better painter and that Pablo was already so much better at painting at a younger age. But schools were probably tougher and he was more rigorous through out his life time with image making. I was laxed and spent more time reading writing that drawing…now it is the opposite in my time.
My favorite part of the museum was the end where Picasso had done cubist remakes of Velazquez portrait Las Meninas.
Picasso did so many different versions and studies on the single painting that I was stunned. I did rough imitations for future reference in the grotesque paintings I have been working on lately. Earlier in my work I was very much into cubism and geometric shapes. I am thinking maybe it is time to return to those ideas in my oil paintings too.