Here's a pic of my brother next to an installation of my drawings in the CSU Faculty Exhibition titled "In Sync." Mia Darcia DeMaar curated this one. I really enjoyed my studio visit with her and appreciated that she picked the stranger paintings that I had lying around.
COVID was a weird time, but I feel lucky that somehow The Boxridge Table reached publication during all of the uncertainty. Amidst all of that I was still painting, inching along in the studio. The paintings in this show reach back to the language I was using in the late 90's, while also employing some of the Renaissance research I did more recently in the 2010's.
This is my first time exhibiting framed drawings from "The Boxridge Table." My excellent fall intern, Alliyah Harper, worked with me to do the matting and frame assembly. The book was drawn on watercolor paper, and the lettering was done on transparent vellum overlays. I decided to frame out the drawings without the overlays, which results in a more ambiguous set of images. The 20 drawings in this show are non-sequential and are also missing most of their words.
Japanese Ukiyo-e prints have always been one of the major influences on my drawing style and artwork in general. The concept of a "floating world" was central to the ukiyo-e style. I like to think that these drawings reflect that notion, and I hope that my work can continue to reflect on the ephemeral nature of... uh, everything I guess.
I was fortunate to share a space with Libby McFalls. Here is a shot of three of her works. Mixed media on paper... there are a lot of techniques here, not sure I can peer into all of the nuances of her combinations of print and collage, marks on paper... the agglomeration of methods is a big part of what makes the work so engaging.
New pieces by Yuichiro Komatsu: these works (to me) deal with absence and emptiness in a profound and evocative way. Ceramics, due to its inherent sense of mass and permanence, is able to confront these concepts in a unique way. I am not an artist who is adept at reductive language, but Yuichiro is... AND he has a very articulate grasp of the aesthetics of post-minimalist form. As an aside, I had a good time assisting him (along with Jon Lumpkin) pouring the plaster for the mold on one of these pieces.
I have been privileged to work with Sally Bradley for a number of years now. Here are two of her recent works that are concerned with landscape and memory, a merger that I think is universal. Her peregrinations in the antarctic landscape (I am not kidding) and her reflections on our local landscape and waterways have shaped these thoughtful paintings.
The photos that I have posted here are incomplete. There are so many excellent artists in this exhibition, but I am limited by my photographic skill and the travails of circumstance. This show spans two floors in the Corn Center for the Visual Arts. I have only documented a few peers on the second floor in the Bartlett Study Center. If you are able to check out this exhibition please do so, it is chock full of serious folks!