April/May/June

2010

I've been considering these thoughts for quite a while now, and am somewhat ready to share them with you.  It's my hope that you'll read through this and add your thoughts to the mix too.

Throughout the years, I have noticed that here in the United States (though certainly not unique to this country) there is a tacit desire to be recognized first and foremost as an individual. We work hard to project that we are a society of hearty, self-made, solitary characters. Certainly we are a robust and confident people, and our collective hard work and unique vision for independence has helped shape our nation, but individualism isn't the complete expression of who we are.

We revere and reward bold individualism as the ultimate expression of one's value and relevance to our culture. Yet interestingly enough, once recognized and singled out, those individuals who exhibit the greatest eccentricity are often quickly co-opted by the marketplace and are then lifted up as ones to emulate (oddly stifling further explorations of individualism). In order to maintain relevance in this paradigm one must continually and at all costs be on the leading edge, pushing boundaries, making and remaking unique personal statements. New is everything! This type of relevance is simply a thin veneer, which is celebrated primarily for its novelty and the ever elusive "wow factor."

Relevance, when judged solely by its commercial value is the antithesis of a broad and lasting relevance, which often takes the shape of somewhat odd or unpopular, obscure visions that are cultivated deeply, over time and in the shadows of the mainstream. True relevance enhances community. Commercial relevance is driven by the singular desire to capitalize on the financial aspect of individualism. There appears to be a cultural blindness to the fact that as we commodify everything, our understanding of holistic value is skewed. The implementation of measured and calculated marketing, places a sustained emphasis on newness, which ensures a continued desire for more by creating fears of being left behind, deemed irrelevant or out of date. This fact encourages a steady flow of commerce but it doesn't ensure deep exploration of peripheral ideas simply because they lack the glamour of marketability.

History shows, that as individuals we are absolutely capable of developing rich ideas and fantastic creations that have the potential for a far-reaching, lasting impact. Today it is quite often believed that individuals and their ideas develop on their own, and marketplace pressures have trained us to be to slow to admit that many of our own ideas and creations have encouraged through external influences. An admission that we are inspired to those around us and beholden to those who have gone before us is often thought of as a confession that we lack original thought. Yet, it is vital to acknowledge that our individualism is truly a byproduct of our community – specifically our relationships and experiences.

Our best chances to become fully relevant and influential to our community comes as we view our own individuality in light of the communal collectivism that has informed and influenced our capacity for uniqueness. Our individualism is undoubtedly intertwined with the individualism of each of those we interact with, and to believe that we act alone will ultimately limit our impact. We will benefit, and the greater community will benefit from the realization that we are only fully capable of being relevant individuals once we embrace our own connectivity to community.

Click here to visit my blog site to add your thoughts and comments.

The small sculptural forms shown in the images above are a few of the pieces that I'm currently working on in the studio. These dimensional objects are derivations of forms that regularly show up in my paintings and prints. Through sculpture, I am able to explore in greater depth the spatial relationship between the three-dimensional and the two dimensional work.

The two blue sketches from my notebook will give you an example of how the concepts and forms begin. The pieces in the photograph are made from wood, foam, fabric, Plexiglas and wire. They are not yet complete, but are developing on a continual basis. Look for a few of these works in my October exhibition. Some will look very similar to what you see now, while additional works will be cast in bronze and others cast in resin.

Art and Wine. What a great combination! I'm excited to announce the upcoming release of the 2007 Artisan Blend from Foundry Vineyards in Walla Walla. It features a label image of one of my cast aluminum and glass sculptures. This blend of Cabernet Sauvignon, Merlot, Malbec and Cabernet Franc is truly a finely crafted wine that can be enjoyed on its own or paired with a variety of foods.

I'll be signing bottles at the Foundry Vineyards tasting room during the Spring Release weekends: April 30 - May 2 and May 7 - May 9. I hope you'll be able to stop by to sample the wine and to see my installation of paintings and hand-pulled prints. If you can't make it during the release events, this wine is also available for purchase on the Foundry Vineyards web site: www.foundryvineyards.com.

Exhibition information

Preparations are well underway for my October exhibition, which will be installed at NYCAMS in Manhattan. The works list is nearly finalized, essays are being written and catalog designs are being considered.

This opportunity has come about because of the generosity of Mark Anderson (Owner, Walla Walla Foundry), John Silvis (Director, NYCAMS), and the handful of artists whose work I'll be including in the show.

I've spent nearly 20 years developing my studio practice and artistic career well outside mainstream art centers, and it has been my desire along the way to share how I've been able to sustain my development as an artist while living in a remote area. This exhibition is one more avenue that fulfills that desire.

Fortunately, early in my career, opportunities were presented to me that allowed me to continue my artistic pursuits while honing my skills as a visual artist. This exhibition will look at the influences that have aided in my creative development, specifically through the working relationships that were established during my tenure as the patineur at Walla Walla Foundry. I took note of the work habits, studio practices, and aesthetic decisions that the artists I worked for made on a regular basis. It was never my intention to mimic them, but I surely wanted to glean aspects of their habits so that I could knowledgably formulate and sustain my own artistic practice.

In addition to the physical sculptural examples by Terry Allen, David Bates, Lynda Benglis, Deborah Butterfield, Jim Dine, Nancy Graves, and Tom Otterness I'll include written examples of how their work and lives have informed my creative development. There is excitement building around this exhibition, and I'm hoping that it will be able to travel to additional venues over the next few years. If you would like to discuss the possibility of this show visiting a museum or university gallery near you make sure to get in touch with me soon. Starting in July 2010, additional information about the exhibition will be available online.

If your schedule allows, I hope you'll plan to be in New York on October 1st to celebrate the opening of this exhibition.

"The artists of Asia have spiritually realized form, rather than aesthetically invented or imitated form, and from them I have learned that art and nature are mind's Environment within which we can detect the essence of man's Being and Purpose, and from which we can draw clues to guide our journey from partial consciousness to full consciousness."

- Morris Graves