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| Trophy, mixed media on linen, 16" x 17" 2010 |
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| Trophy, detail |
Saturday, November 06, 2010
Saturday in the Studio
Some work in progress... all unfinished, all cell-phone pictures... nothing too serious, just a glorious work day.
Monday, November 01, 2010
installation photos
"...i know you" exhibition at Bob Schwan Studios with Trish Higgins Fine Art!
thanks again to all for your support. The larger pieces are all from a couple years ago, the smaller works ongoing from the past 2 years. The items in the drawing installation include brand new works on paper and canvas, drawings, studio scraps, and important pieces of writing—some extending back almost a decade.
*Definition of intuition: from a Williams Alumni Magazine.
Mike Glier '75, Studio Art
Being creative in the studio requires a kind of mental state that is sometimes referred to as right-brain thinking. Some call it intuition, but I don’t like that word because it makes it sound as if a creative state of mind is mysterious, as if it’s sent to you from above. That’s total baloney. Being creative in the studio is an intellectual process that’s not verbal. It’s a very synthetic process wherein your brain is constantly comparing your sensory awareness of the moment to your memory of similar moments in the past. It’s not a verbal comparison; it’s happening at a nonverbal level. And you’re able to react to the problem of the moment very spontaneously, without a verbal engagement. Then later, you go back to language. You switch back to the left brain and do a critical analysis of what you’ve done.
thanks again to all for your support. The larger pieces are all from a couple years ago, the smaller works ongoing from the past 2 years. The items in the drawing installation include brand new works on paper and canvas, drawings, studio scraps, and important pieces of writing—some extending back almost a decade.
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| ...Leads to Blue, Aneblefa, Kagren (top pink), Ceegofi (bottom yellow), MaJoot, Ofeko |
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| ...Ahh, Yes, Muhunse, ...Leads to Blue |
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| Spirmak (top), Ooorapa (bottom) |
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| ...Ah, Yes, Murhunse, ...Leads to Blue, Aneblefa, Kagren, Ceegofi |
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| Kaypowla |
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| Drawing installation in the loft |
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| Drawing installation in the loft |
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| Drawing installation & a painting so new it doesn't have a title yet |
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| Drawing installation |
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| Two brand new, currently untitled, paintings |
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| Drawing installation |
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| Drawing installation including email with the best passage about intuition (*see below for text) |
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| Akka, Ahhbwak in the drawing installation |
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| drawing on velum, shark illustration, Moo-i, and note from Amy Sillman lecture that says "stop trying to finish every painting the moment you start one" |
*Definition of intuition: from a Williams Alumni Magazine.
Mike Glier '75, Studio Art
Being creative in the studio requires a kind of mental state that is sometimes referred to as right-brain thinking. Some call it intuition, but I don’t like that word because it makes it sound as if a creative state of mind is mysterious, as if it’s sent to you from above. That’s total baloney. Being creative in the studio is an intellectual process that’s not verbal. It’s a very synthetic process wherein your brain is constantly comparing your sensory awareness of the moment to your memory of similar moments in the past. It’s not a verbal comparison; it’s happening at a nonverbal level. And you’re able to react to the problem of the moment very spontaneously, without a verbal engagement. Then later, you go back to language. You switch back to the left brain and do a critical analysis of what you’ve done.
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| Mike Glier, May 3, 2006, 58°F, N42º 52.635, W 73º 20.717 (The Garden) |
Saturday, October 30, 2010
I'm having a love affair with this book!
My fabulous friends Jennifer Beattie & Kurt Marsden gave me this book of essays and I have been off & on reading it for the past year & a half. Right now I'm fully in love with it. Here are a couple passages for you to chew on.
The Way of the Maker: Eric Wesselow's Life Through Art
p. 33: Making or Breaking: Art as Education
"... I propose the universal model, art, as a catalyst. By 'art' in this context, I think in particular of two areas of human engagement. One is what Maslow calls 'self-actualizing creativity.' It is something he finds a painter or sculptor or pianist may not necessarily have, but a fulfilled housewife and mother may richly possess and display. She may be original, ingenious, unexpected, inventive—her first-rate soup more creative by far than a second-rate painting or poem. There are no minor arts, only minor artists.
... What has not happened to the child will likely happen to the adolescent or adult: the maiming, the atrophy of the creative urge by a world of purpose.
... It [art] stimulates our thought processes by way of productive thinking—the relationship between thinking and making grounded in touching the material, most important in today's industrialized world where our only manual activity seems to be pushing buttons and turning dials. It involves the constant training of all our senses, including the kinesthetic and the enteroceptive both of which help promote empathy. The arts are singularly suited to project understandings which cannot be otherwise known or experienced."
And, one more short one:
p. 22 I Never Know How or Why: Probings into the Processes of Art Work
"When a new skill has been perfected, so to speak, its functions tend to become automatic. This may involve the perceptual, the manual, and the cerebral functions. Skill easily becomes stereotyped and dominates the art work. This can lead to a lazy and shallow mind. ... virtuosity stands in the way of originality. Great mastery of a skill often induces an automatic technique or process. Acquiring steady hapbit can interfere with awareness and discovery..."
MMMMMM! Yum! Love it!
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| Eric Wesselow's stained glass, Humber Valley United Church in Toronto |
The Way of the Maker: Eric Wesselow's Life Through Art
p. 33: Making or Breaking: Art as Education
"... I propose the universal model, art, as a catalyst. By 'art' in this context, I think in particular of two areas of human engagement. One is what Maslow calls 'self-actualizing creativity.' It is something he finds a painter or sculptor or pianist may not necessarily have, but a fulfilled housewife and mother may richly possess and display. She may be original, ingenious, unexpected, inventive—her first-rate soup more creative by far than a second-rate painting or poem. There are no minor arts, only minor artists.
... What has not happened to the child will likely happen to the adolescent or adult: the maiming, the atrophy of the creative urge by a world of purpose.
... It [art] stimulates our thought processes by way of productive thinking—the relationship between thinking and making grounded in touching the material, most important in today's industrialized world where our only manual activity seems to be pushing buttons and turning dials. It involves the constant training of all our senses, including the kinesthetic and the enteroceptive both of which help promote empathy. The arts are singularly suited to project understandings which cannot be otherwise known or experienced."
And, one more short one:
p. 22 I Never Know How or Why: Probings into the Processes of Art Work
"When a new skill has been perfected, so to speak, its functions tend to become automatic. This may involve the perceptual, the manual, and the cerebral functions. Skill easily becomes stereotyped and dominates the art work. This can lead to a lazy and shallow mind. ... virtuosity stands in the way of originality. Great mastery of a skill often induces an automatic technique or process. Acquiring steady hapbit can interfere with awareness and discovery..."
MMMMMM! Yum! Love it!
Thursday, October 28, 2010
Juror for WSU's "Requires Two Coats" MFA exhibiton
The first thing to hit me, upon walking into the exhibition, is a considered sense of craft present in all the works across genres. To choose particular works over others is both an honor and a very daunting task to be certain. I believe the only appropriate way to approach this task is to consider each piece individually, and then use the artist's own statement to enrich and enhance those first impressions. The overall process of "judging" is less about one work vs. another-but rather each piece vs. itself.
This exhibition presents a satisfying variety of themes and mediums with emphasis on strong forms. Some highlights include: Eriberto Biera's painting, which presents a visual rhythm of bold colors, figures, and shapes humorously and suggestively "vandalized" with text and drawing in marker—both undermining as well as informing the painting below. David Hellman's ceramic pieces feel trickily familiar and overly comfortable until their charmingly clunky cleverness reveals itself. Across the room, Zachary Presley's collaged icons, printed and presented so simply they seem almost irreverent, raise questions of mass culture vs organic bodies (both ours as consumers and the animals visible). Lauren Clay's pieces question and celebrate their medium while remaining visually lyrical. Phillip Baumer's tangled installation confronts the viewer with its presence in 2, 3, and 4 dimensions and suggests our considered participation, its action and space. Nathan Carris Carnes's playful sculptures are physically seductive and seem to ooze their suggestive undertones in a very polished way. Amy Yun-Ping Chen's paintings are puzzles with layers and fragments of visual and cultural reference, cheekily presenting stereotypes as you find both your eyes and brain immersed in her (de)constructed "landscapes."
Overall it is a pleasure to delve into the products of each artist's efforts and deliberations—particularly during such a powerful and transitional time as their graduate study. I would like to thank Shift Space and WSU for the opportunity and all the artists for offering their work for us to chew on.
-Kate Van Steenhuyse
Tuesday, October 26, 2010
Artist's Talk - "i know you..." exhibition
Tomorrow I'm de-installing my show here in Wichita. Thank you to all who came out to see it & support my work!
Below is a video of the talk I gave at the opening, enjoy!
Below is a video of the talk I gave at the opening, enjoy!
Tuesday, September 21, 2010
"i know you..." Opens this weekend!
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| Ceegofi, Acrylic & Spray Paint on Canvas |
I will be showing large-scale and small-scale paintings from the past 2 years as well as a group of drawings, sketches, small construction-y paintings, and notes.
See below for more details!
Thursday, August 19, 2010
I know you...
I'm excited to announce my first solo show in Wichita, KS. The show will open Friday, September 24 & will have 6 large-scale paintings from the past 2 years as well as some smaller, more recent, more experimental work. Stay tuned for details!
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| Kaypowla (detail) mixed media on canvas, 2010 |
Monday, July 19, 2010
Watch for KayPowla coming to a gallery near you in September!
details to come... stay tuned!
KayPowla detail
KayPowla, 2010acrylic, graphite, spray paint, ink on canvas
60" x 72"
2 weeks left! - Recent Paintings at Arkell Museum in Canajoharie!
For those in the Albany area, swing by the awesome Arkell Museum in Canajoharie, my show will be up until the end of July as well as some incredible prints by Ed Smith and an exhibition of maritime paintings in the main galleries.
Thursday, May 27, 2010
Come out & be proud!!!
OPEN: Final Friday 7 PM
Including live art performance, as well as music by The Tom Page Trio.
*Join us Saturday as well for the Art Pride Parade.
SUPERCELLICA is the evolution of Supercell, a Squirrelly Girls exhibition inspired by summer storms, first exhibited at ADA Gallery in Richmond, VA and then at the Couchfire Collective in Columbus, OH. The Squirrelly Girls are an irreverent and improvisational arts group that feed on glitter, and all other manner of squirrelly things. This squirrelly attitude has allowed Supercell(ica) to permeate each new community, much like the glitter we ride in on, adopting new members to our Squirrelly Girl tribe. The exhibition will feature both local and national artists.
and opening next weekend:
2 Erie Blvd, Canajoharie, NY
OPEN: June 4th, 5 - 7 PM
exhibition will run through July 30th
Also on view at the museum at this time will be drawings by Ed Smith and photographs by Louie Powell.
Thursday, May 13, 2010
"Recent Work" at the Arkell Museum
The crates are being made & the paintings prepped for shipping! After 10 days of life as a Kansan, my paintings are returning to New York! I am pleased to announce this upcoming show:
June 4 - July 30th, 2010
Community Gallery
Arkell Museum, Canajoharie, NY
Also on view will be work by Ed Smith & Louie Powell more to come on this exciting show!
Pieces images
Some images of the exhibition "Pieces" at Emma Willard. It was a very large show & we had a ton of fun putting it together. See below for a very informal video tour! Thanks to all for your support.
Ooorapa, Krigisme, Sagra's Second, untitled
Seeboo, CeeGee!, black hole drawing, KaypowLa
Sattha's...Mmmm, mixed media on partially stretched canvas, 25" x 46", 2010
Moo-I, 5.125" x 5.125", Mixed media on shaped canvas, 2009
Untitled, Mixed media on linen, 19" x 25", 2010
untitled, mixed media on canvas & frame, 16" x 16", 2009
KaypowLa, mixed media on canvas, 60" x 72", 2010
Betessido, acrylic on linen, 22" x 16", 2009
CeeGee! Acrylic on shaped canvas, 5"x 5", 2010
Ahhbwak mixed media on linen, 2010
3 Untitled drawings from 2009, Ahhbwak
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