And So It Goes

#31 – Tuesday October 18th

Done. As of today, the paintings are at Perimeter. Prior to the exhibition, the paintings are photographed, framed, then returned to the gallery for installation. The exhibition opens on November 18th and will run through the end of the year.  The past couple of days have been hectic, putting the finishing touches on these two paintings, and prepping the canvasses for shipping, and now that the paintings are out of the studio, it’s a quiet feeling. Though a little odd, because these paintings have been a part of my daily life for well over a year, with a couple of canvasses having been in progress for the better part of three. But it’s not the end. I’ve a painting still in the studio that will or won’t make it to Chicago depending on how it develops, and the materials to stretch up another few canvasses. And so it goes on.

Speaking of going on, the details of the SRAM’s pART PROJECT auction and event have been announced. The on line auction begins November 20th and culminates with gala event, in Chicago, on November 30th, where the final moments of the auction will take place. All the auction proceeds will go to support World Bicycle Relief. For additional details, including auction updates, event info, viewing the artists pART sculptures and bios visit the SRAM pART PROJECT website. SRAM provided each artist a CD containing four images of their sculptures, originally taken for the project website.  To see the “official” four views of my SRAM pART sculpture, click on the image to the right.

This week, in celebration of my tenth exhibition at Perimeter, a painting from the 1997 show. This exhibition was reviewed by Arts and Antiques magazine.

Thanks for reading.

Charles

This Cornucopia Tuesday

#26 – Tuesday September 13th

In conjunction with the premier exhibition of the SRAM pART Project sculptures at InterBike (the main trade show for the bicycle industry), the project website has posted photos of all the sculptures. The SRAM pART Project website homepage, features the project overview, and a link to the artists. Clicking on the individual artist’s image, brings up a brief biography and a photo of their pART sculpture. In many of the bio’s there are links that allow for additional exploration of that specific artists work. After InterBike, the sculptures go to Chicago, home base of  SRAM, where in late October, SRAM will host an additional pART Project exhibition and after, all the works will be put up for  auction (including on-line auction participation). All the auction proceeds will go to support World Bicycle Relief. I’ll post the particulars as they become available.

I’m still working on the words to accompany the new paintings. It seems to take me almost as long to assemble these linguistic partners, as it does to bring a canvas to fruition. At one point I’d just scribble on the back of the paintings, but now my favorite landing strip for capturing my observations are three by five cards, they are easy to tote around, and easier to sort through, but transforming them into form, is a process as challenging and entertaining as the painting.

Speaking of new paintings, here are two of them . . . At this moment, I can’t verbally illuminate just where these canvasses are headed but I’m excited about the journey

Trundling around the radio dial, I caught a delightful interview with Marianne Faithfull. I’ve her CD “Strange Weather”, recorded some 25 years ago, and her languid, husky vocals, seemingly tinged with a world-weary sadness, always resonate when I’m in a certain mood. Her interview was so entertaining, I couldn’t resist checking out her new CD “Horses and High Heels” . Yes, still languid and husky, more late night than early morning and well worth a listen.

Thanks for reading.

Charles

The Final Physical Act

#23 – Tuesday August 23rd

The final physical act is signing and dating the canvas. Often the words that accompany a particular piece will have fallen into place by that time, but not always, and I’m still sorting through all the notes I’ve taken for this painting, organizing the language that will be its accompaniment. I don’t take naming my canvasses lightly, and when looking at a painting, I want to say its name, feel its words dance on my tongue, vibrate from my lips, a narrative of sound consorting with what’s before my eyes. For me, painting is an act of passion, a chaotic, irrational, life affirming mess . . . and the words that become the names, must share those histories, whatever path taken.

I’ve been thinking about histories, so I’ve peppered our Netflix que with documentaries. Of those we’ve watched recently, two I thought notable. First, “Who the #$&% Is Jackson Pollock” a 2006 film by Harry Moses. The film follows Teri Horton, a blue-collar, woman truck driver, in her efforts to have a painting she bought for $5 and thought to be a Jackson Pollock worth millions, authenticated. Featuring a bevy of characters including, museum curators, art forensic experts, gallery owners, and Teri’s own friends and family . . . this is an amazing, over the top, journey through the art world. Is it a real Pollock? That question is never answered, an odd twist that made the film even more entertaining.

The second, is an 18 minute film from director Louis Malle. The 1962 short  “Vive leTour”, chronicles the Tour de France and concentrates on the gruelling experiences of the cyclists, rather than any particular rider or who won the race. A favorite scene shows riders raiding restaurants for food and drink (including alcohol), then riding on, jersey pockets stuffed to overflowing. I love watching the tour, and have been known to watch many, many cycling videos .  . . and can be a bit jaded with cycling on film, when poorly produced . . . but  “Vive leTour” was a total enjoyment and I would highly recommended it to any cycling enthusiast. From Netflix, this film is presented along with 2 other of Malle’s documentaries on one DVD, “Humain, Trop Humain” and “Place de la Republique”. “Vive leTour” is also available on YouTube as a two-part video.

Tuesday’s tunes? Jesse Sykes and the Sweet Hereafter. The band has been around since ’07, but I first heard them while trolling around NPR’s all songs considered. I listened to a song off their new album, “Marble Son” and the guitar work sounded reminiscent of Jorma Kaukonen’s work with Jefferson Airplane on “Surrealistic Pillow” and “Crown of Creation”. (Both albums were in heavy rotation on my turntable!) Anyway I downloaded the entire “Marble Son” CD and I’m glad I did. Phil Wandscher’s guitar work is a delight. Jesse Sykes has a lovely plaintive voice (much like  Marianne Faithful on “Strange Weather” ) invoking a perfect mood for my late night painting sessions.

Thanks for reading.

Charles