studio chaos Is it any wonder that I couldn't find six paintings? They were lost for two days. I'm getting ready for my show Becoming Paint which opens at Archway Gallery on April 1, 2017, 5-8pm, so I'm in that final, frantic panic to get everything signed and titled and to get the hardware on the back of each painting. I have photos for six 24 x 24" paintings that I can't find. Below is an image of my working studio and my storage studio at Art Square Studios on Main at Dennis in Houston. Not that I like chaos, but it seems to follow in my wake.
I spent hours creating to titles for my 74 Sweet Nothing paintings. I'm preparing for my show which opens at Archway Gallery on Saturday, March 7, 2015. I will have an installation covering one large wall with 74 Sweet Nothing paintings. While these small canvas flirt with the dangerous territory of the decorative, they are constructed using detritus: leftover paint, dead flowers, and scraps of resin harvested from the drop cloths of sculptor Kamila Szczesna.
These paintings are constructed of layers and layers of paint, up to 30 or so layers. Sometimes I use my hands; sometimes I use a brush to add paint to the ridges which were formed by my hands. Here is a small detail of a larger piece. Many of my Touch Series paintings will be included in my show Shimmerat Archway Gallery which opens Saturday, March 7, 2015.
It's playfully sensual to apply thick gesso with my hands. The marks of my hands create ridges and patterns - as if I'm desperately grasping for something. In a strange way my hands create a self-portrait of my hands - a self portrait of me.
The origin of my Touch Series: My show Coming Undone at Archway Gallery in September of 2014 consisted of 25 paintings and 7 photographs. These paintings were brightly colored, fairly tight, oil paintings. After the show I wanted to play. I looked around my studio and found all sorts of interesting materials. Instead of the small brushes I use for oil paint, I began using my hands to apply thick gesso onto the canvas. It was like a physical release. Then I applied layers and layers of various acrylic paints and mediums. The upper layers are diluted with medium so that the layers beneath are visible. I used iridescent, metallic and interference acrylic paints. My first 3 painting in this series were rather dark. Then I began to play with more color. These paintings have a physical depth to them. Light plays across the reflective surfaces and the shadows created by the thick texture. Their character is mercurial, changing as the light changes. 03.19.14