ihet – october 2018 – issue 235
The exhibition at Eric Fischl Gallery had many special moments which truly made it a success. Now that the exhibition has ended, it’s time to put the studio back in order. First on the docket . . . editing a group of short videos that present the inspiration and ideas informing my work. I’ll get those up and posted soon. In the interim, photos of the installation.
Thanks for reading.
Charles
ihet – july/august 2018 – issue 234
The Eric Fischl Gallery is a great environment for exhibiting and viewing art. For my exhibition, it’s all new work. Both paintings and objects, so it promises to be a good show. The opening reception is on Monday evening, September 17th from 5:30-8pm. I’d love to have you join me, so save the date and come see the new work.
Clyfford Still is one of my all-time favorite painters and visiting the Clyfford Still Museum, in Denver, has been on my list. I’d tie myself in knots trying to choose a favorite, but this painting, 1944-N No. 1 would certainly be in the mix. There’s a boundless volume of color in his paintings, but this black is just fearless. “Black was never a color of death or terror for me. I think of it as warm – and generative.” Clyfford Still. – To view more of Still’s work – The Clyfford Still Museum
“Abstraction allows [one] to see with his mind what he cannot see physically with his eyes . . . [it] enables the artist to perceive beyond the tangible, to extract the infinite out of the finite. . . . It is an exploration into unknown areas.” This quote by Arshile Gorkey was included with the exhibit and for me captures what all art attempts to achieve. Gorkey’s work bridged the gap between surrealism and abstract expressionism and is considered one of the seminal artists of his time. For more on Arshile Gorkey visit – The Arshile Gorkey Foundation.
The show at Fischl Gallery has provided the impetus to give my website some much-needed attention. So rather than just a bit of polish, I decided to do a complete overhaul. Take a look and let me know what you think . . . charleskurre.com
Besides the website revamps, I’ve been putting finishing touches on work for the exhibition. The most recent . . . A layered history of remembrance, a bridge between then an now. Tuning perception to desire’s needs. Deconstructed elementals assembling the kite.
And no, it wouldn’t be Summer without a bit of beach time . . .
Found on the street by my studio, drawn by one of the neighborhood kids.
Thanks for reading.
Charles
ihet – spring 2018 – issue 232
Gladiolas are a favorite flower and this was an exceptionally beautiful bunch, and while past prime, the richness of its color is still amazing. No they aren’t from my garden but a perfect segue . . . to being in the garden. My spring garden project this year was growing one of my botanical nemeses, wild flowers from seed. I lavished my attentions on garden endeavors providing a welcome distraction from the fits and starts that momentarily defined my studio efforts. This one took its bloody sweet time and having survived my relentless attacks, earned naming. Long Shores Meddling Beast #181
After all that, back to something a little less chaotic, some space to breath. It’s inspired by the memory of a tranquil afternoon, backpacking in the Grand Canyon, watching the sun set on The Howlands Butte. The butte is named after two brothers killed in the canyon by Shivwits Indians in 1869. I’d started work on this canvas over a year ago then promptly ignored it. Now its mood fit mine and so back to work. Figures pirouette crimson in a misty field of ghostly white . When I set a Trap for You in an Appropriate Floating Reflection #151 .
Pieces. I’ve a list of criteria guiding how and when I cut and reassemble, and #151 checked all the boxes. Take a photo of the painting. Print several copies. Cut into pieces. Paste together. Photograph. Print. This is what I got. A six inch by seven inch image, and a ledge to jump from.
Landing here. Sideways on top. More pieces. Pieces of then. Pieces of now. This amalgamation driving the work forward. A synthesis of experiences molded by the passage of time and finding the words to name it. At the moment it’s just canvas #7. Thirty by thirty inches. In development.
The process. Something to use. This time it’s pictures of the twisted, bent and knotted. Shot in close and tight, capturing the language of circumstance with a story to tell. And this is where they end up. Taped to the studio painting wall. A methodology authenticating belief. Images manipulated, themes extracted, geometries applied, perceptions tuned to desires needs.
Thanks for reading.
Charles
Flowers going wild .
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