MARTES, EL TREINTA DE AGOSTO, VEINTE-ONCE
A Mexican tin nicho frame, given to me by my friend Frank X Cordero from Santa Fe. The frame had a piece of newspaper in the back of it, folded over and teared, but with a date of 1910 on it. The paper perhaps had a reproduction of a saint on it, possibly La Preciosa Sangre de Cristo, or Nuestra Senora de la Luz.
I started a scraperboard-type work for this frame several months ago and have finally finished it. It's a reverse image of Durer's Melencolia engraving from 1514, in an attempt to reverse melancholy.
A Mexican tin nicho frame, given to me by my friend Frank X Cordero from Santa Fe. The frame had a piece of newspaper in the back of it, folded over and teared, but with a date of 1910 on it. The paper perhaps had a reproduction of a saint on it, possibly La Preciosa Sangre de Cristo, or Nuestra Senora de la Luz.
I started a scraperboard-type work for this frame several months ago and have finally finished it. It's a reverse image of Durer's Melencolia engraving from 1514, in an attempt to reverse melancholy.
JUEVES, EL DIECIOCHO DE AGOSTO, VEINTE-ONCE
I'm framing up some preparatory ink and wash sketches that I like. I ordered several frames, square, off-white in which I'll float-mount frame about 8 drawings. This is number two drawing, literally, of a devil on a toilet. I've just recently posted a photo of a ceramic talavera version of this motif that is on show at Rayner Brothers Gallery at present. I'm also working on my hand-modelling angles and techniques.
MIERCOLES, EL DIECISIETE DE AGOSTO, VEINTE-ONCE
I'm framing up some preparatory ink and wash sketches that I like. I ordered several frames, square, off-white in which I'll float-mount frame about 8 drawings. This one in the photo I haven't actually made a painting of yet, but it's based on my planchette snake idea (based on an Indian cobra, but with a hole in the middle of it, similar to that of a planchette which is the little wooden device used on Ouija boards). Apparently it's snake season here in Las Vegas, but not knowing anything about herpetology, I wouldn't have a clue what type of snakes are out there. Anyway, this is called 'Desert Companion', which is also the name of the local lifestyle magazine.
SABATO, EL TRECE DE AGOSTO, VEINTE-ONCE
Today is International Left-Hander's Day. Below is a painting I made about the Wrath of the Left-hander.
Today is International Left-Hander's Day. Below is a painting I made about the Wrath of the Left-hander.
MIERCOLES, EL TRES DE AGOSTO, VEINTE-ONCE
I've got three or four ceramic works in this upcoming exhibition
www.raynerbrothers.com
I've got three or four ceramic works in this upcoming exhibition
www.raynerbrothers.com
MIERCOLES, EL VIENTE DE JULIO, VEINTE-ONCE
I knew of Scully's interest of Spanish painting but never felt it as... much as when I saw his 'Wall of Light Horizon' with the earth tones over the red bole primer, so evident in Spanish Colonial painting from the Baroque period.
Six months after seeing Scully's painting at the De Young, I revisited Goya's 'Portrait of the Marquesa de Santiago' at the Getty and instantly thought of the Scully - the saturations and values of the colours and the use of the warm light from the red bole primer penetrating through the top layer of heavy earth tone colours. His title, an oxymoron, also lends itself to the painters constant battle with illusion, allusion and space in and on a painting - the horizon of course being an example of a concept that exists in our minds, you can't ever reach a horizon as it shifts constantly in relation to where you are positioned in space; as apposed to a 'wall of light' which talks of the picture plane, but with something behind it emanating a light. These ernest questions in Scully's work about the history of painting played out as abstract paintings interest me so much that, for me, they hold a strong force of energy and knowledge that makes me want to keep looking at them.
Left: Sean Scully, 'Wall of Light Horizon', oil on linen, 2005, deYoung Museum, San Francisco; middle: detail of 'Wall of Light Horizon'; Right: Francisco José de Goya y Lucientes, 'Portrait of the Marquesa de Santiago', 1804, oil on canvas, Collection of the Getty, LA.
I knew of Scully's interest of Spanish painting but never felt it as... much as when I saw his 'Wall of Light Horizon' with the earth tones over the red bole primer, so evident in Spanish Colonial painting from the Baroque period.
Six months after seeing Scully's painting at the De Young, I revisited Goya's 'Portrait of the Marquesa de Santiago' at the Getty and instantly thought of the Scully - the saturations and values of the colours and the use of the warm light from the red bole primer penetrating through the top layer of heavy earth tone colours. His title, an oxymoron, also lends itself to the painters constant battle with illusion, allusion and space in and on a painting - the horizon of course being an example of a concept that exists in our minds, you can't ever reach a horizon as it shifts constantly in relation to where you are positioned in space; as apposed to a 'wall of light' which talks of the picture plane, but with something behind it emanating a light. These ernest questions in Scully's work about the history of painting played out as abstract paintings interest me so much that, for me, they hold a strong force of energy and knowledge that makes me want to keep looking at them.
Left: Sean Scully, 'Wall of Light Horizon', oil on linen, 2005, deYoung Museum, San Francisco; middle: detail of 'Wall of Light Horizon'; Right: Francisco José de Goya y Lucientes, 'Portrait of the Marquesa de Santiago', 1804, oil on canvas, Collection of the Getty, LA.
VIERNES, EL QUINCE DE JULIO, VEINTE-ONCE
it was just over a year ago that we moved to the USA. It's been a blast so far!
it was just over a year ago that we moved to the USA. It's been a blast so far!
JUEVES, EL CARTORCE DE JULIO, VEINTE-ONCE
I was very taken recently by a new painting on the Colonial Arts website, owned by James Eddy. The painting (on the right) is titled 'The Nothingness of Man', c.1700's (http://www.colonialarts.com/products/sk ) and the central skeleton figure with the figure captured in its ribs sparked off a memory of the work it is probably based on. I found it yesterday in Hermann Hugo's Pia Desideria (Divine Addresses) which was published in 1628. I'm aware of other example of this biblical ribcage jail motif, but I think it is in a book that's in storage in NZ. On my facebook page, I put together a folder of images called 'Influences of Spanish Colonial Art on Contemporary Painting', which looks at the lineage of imagery borrowed from the Spanish Colonial period by Enrique Chagoya, Manuel Ocampo, Fred Stonehouse, Frida Kahlo and Alex Chavez. The images below will probably be the offshoot of the above research. 
I was very taken recently by a new painting on the Colonial Arts website, owned by James Eddy. The painting (on the right) is titled 'The Nothingness of Man', c.1700's (http://www.colonialarts.co
VIERNES, EL OCHO DE JULIO, VEINTE-ONCE
Yesterday I took my usual LA pilgrimage out to Historia Antiques in Santa Monica and met up with James Caswell to discuss all things Spanish Colonial... it usually goes on for quite a while but is always absolutely inspiring and illuminating.
Here's a photo of some of my paintings in his store amongst
Yesterday I took my usual LA pilgrimage out to Historia Antiques in Santa Monica and met up with James Caswell to discuss all things Spanish Colonial... it usually goes on for quite a while but is always absolutely inspiring and illuminating.
Here's a photo of some of my paintings in his store amongst
JUEVES, EL SIETE DE JULIO, VEINTE-ONCE
my three paintings in Anacomically Correct' at Distinction Art Gallery, Escondido, CA, USA
(left to right) 'Liberty (after Delacroix)', 'Hell (after Giotto)' and 'Finis (after Hogarth)'
all 2011, all oil on metal, all 11.5 x 8 inches
courtesy of Distinction Art, Escondido, CA, USA, http://www.distinctionart.com/current.php
©2011, Couper Russ Studios LLC
my three paintings in Anacomically Correct' at Distinction Art Gallery, Escondido, CA, USA
(left to right) 'Liberty (after Delacroix)', 'Hell (after Giotto)' and 'Finis (after Hogarth)'
all 2011, all oil on metal, all 11.5 x 8 inches
courtesy of Distinction Art, Escondido, CA, USA, http://www.distinctionart.
©2011, Couper Russ Studios LLC
MIERCOLES, EL SEIS DE JULIO, VEINTE-ONCE
Invitation to 'Anacomically Correct' at Distinction Art Gallery, Escondido, CA, USA, opening Sat night at 6pm. Hope to see you there!
Invitation to 'Anacomically Correct' at Distinction Art Gallery, Escondido, CA, USA, opening Sat night at 6pm. Hope to see you there!
'The Meadows', JK Russ & Matthew Couper, 2011, oil and collage on metal, 275mm x 360mm, available to purchase
courtesy of Thermostat Art Gallery, New Zealand, http://www.thermostat.co.n
©2011, Couper Russ Studios LLC
LUNES, EL VEINTISIETE DE JUNIO, VEINTE-ONCE
VENT(10) " From Abroad" Group Exhibition- THERMOSTAT
Opening on Saturday 2 July, 5.30 - 7pm
Shelley Malcolm - LONDON
Barnard McIntyre, Clare Firth-Smith - MELBOURNE
Victor Berezovsky, Sandra Schmidt - DRESDEN
Matthew Couper, J.K. Russ - LAS VEGAS
David Boyce - HONG KONG
Christian Hogue - BANGKOK
Leahlani Johnson - SYDNEY
Exhibition runs until 21 July 2011
Thermostat Gallery, First floor, 155 The Square, Palmerston North 4410, New Zealand
Open: Wed - Fri 11am -4pm, Sat 11am - 2pm, Mon - Tues by appointment
www.thermostat.co.nz
VENT(10) " From Abroad" Group Exhibition- THERMOSTAT
Opening on Saturday 2 July, 5.30 - 7pm
Shelley Malcolm - LONDON
Barnard McIntyre, Clare Firth-Smith - MELBOURNE
Victor Berezovsky, Sandra Schmidt - DRESDEN
Matthew Couper, J.K. Russ - LAS VEGAS
David Boyce - HONG KONG
Christian Hogue - BANGKOK
Leahlani Johnson - SYDNEY
Exhibition runs until 21 July 2011
Thermostat Gallery, First floor, 155 The Square, Palmerston North 4410, New Zealand
Open: Wed - Fri 11am -4pm, Sat 11am - 2pm, Mon - Tues by appointment
www.thermostat.co.nz
JUEVES, EL DIECISEIS DE JUNIO, VEINTE-ONCE
http://www.mattcouper.com/devotionalinvite.html
http://mattcouper.blogspot.com/2009/05/viernes-el-veinteseis-de-mayo-dos-mil.html
http://www.mattcouper.com/devotionalinvi
http://mattcouper.blogspot.com/2009/05/v
MARTES, EL CATORCE DE JUNIO, VEINTE-ONCE
http://www.mattcouper.com/hmvdog.html
http://www.designboom.com/history/nipper.html
http://www.mattcouper.com/hmvdog.html
http://www.designboom.com/history/nipper
JUEVES, EL NUEVE DE JULIO, VEINTE-ONCE
I was asked by the editor of the weekly newspaper, Las Vegas Citylife if I'd be interested in saying a few words about my painting that's on display at present as part of '89XXXhibition' at UNLV Marjorie Barrick Museum (4505 Maryland Parkway, Las Vegas, NV, USA, 20 May - 9 July 2011) I'm alway happy to talk about my work, so here's the article.
I was asked by the editor of the weekly newspaper, Las Vegas Citylife if I'd be interested in saying a few words about my painting that's on display at present as part of '89XXXhibition' at UNLV Marjorie Barrick Museum (4505 Maryland Parkway, Las Vegas, NV, USA, 20 May - 9 July 2011) I'm alway happy to talk about my work, so here's the article.
VIERNES, EL TRES DE JUNIO, VEINTE-ONCE
A short video of my ceramic 'Golgotha Wine Decanter' fresh out of the kiln. This work will be in an upcoming group exhibition at the Rayner Brothers Gallery in Whanganui, New Zealand in the latter half of the year.
A short video of my ceramic 'Golgotha Wine Decanter' fresh out of the kiln. This work will be in an upcoming group exhibition at the Rayner Brothers Gallery in Whanganui, New Zealand in the latter half of the year.
JUEVES, EL DOS DE JUNIO, VEINTE-ONCE
There's a nice little write-up about the Contemporary Art Center 22nd Annual Juried Show in Las Vegas here. The Las Vegas Weekly is a free publication delivered and available free to residents of Las Vegas.
Philip Denker: Best in Show
There's a nice little write-up about the Contemporary Art Center 22nd Annual Juried Show in Las Vegas here. The Las Vegas Weekly is a free publication delivered and available free to residents of Las Vegas.
Philip Denker: Best in Show
MIERCOLES, EL UNO DE JUNIO, VEINTI-ONCE
It's been a long time without a post, this poor blog, but I'm now back in Las Vegas, Nevada and tidying up the loose ends of post-travel paperwork.
Over the last month, I had six exhibitions on at once, five group shows in Tucson, Arizona, Whanganui and Hastings, New Zealand; and two in Las Vegas, Nevada; and a solo show at PAULNACHE in Gisborne, New Zealand.
All went very well with good sales at my solo show 'Rites in the Meadows' at PAULNACHE and 'Pop-Gun at The Rayner Brothers Gallery, a nice mention in a review of the Creative HB Invitational at the Hastings City Art Gallery. I was very honoured to learn that I had gained second prize for my art work 'The Trickle-Down Theory' at the Contemporary Arts Center. A related work titled 'The Trickle-Down Effect' is on show at the Barrick Museum, UNLV campus, Las Vegas.
'Solutio Perfecta'
2011
Oil on metal
360mm x 280mm / 11" x 14"
Private Collection, South Island, New Zealand
exhibited in 'Rites in the Meadows' at PAULNACHE, Gisborne, New Zealand
©2011, Couper Russ Studios LLC
It's been a long time without a post, this poor blog, but I'm now back in Las Vegas, Nevada and tidying up the loose ends of post-travel paperwork.
Over the last month, I had six exhibitions on at once, five group shows in Tucson, Arizona, Whanganui and Hastings, New Zealand; and two in Las Vegas, Nevada; and a solo show at PAULNACHE in Gisborne, New Zealand.
All went very well with good sales at my solo show 'Rites in the Meadows' at PAULNACHE and 'Pop-Gun at The Rayner Brothers Gallery, a nice mention in a review of the Creative HB Invitational at the Hastings City Art Gallery. I was very honoured to learn that I had gained second prize for my art work 'The Trickle-Down Theory' at the Contemporary Arts Center. A related work titled 'The Trickle-Down Effect' is on show at the Barrick Museum, UNLV campus, Las Vegas.
'Solutio Perfecta'
2011
Oil on metal
360mm x 280mm / 11" x 14"
Private Collection, South Island, New Zealand
exhibited in 'Rites in the Meadows' at PAULNACHE, Gisborne, New Zealand
©2011, Couper Russ Studios LLC
DOMINGO, EL OCHO DE MAYO, VEINTE-ONCE
There's been a bit of a lapse in posting due to traveling around New Zeland and limited access to internet connections but here's the next invitation to "Pop Gun" at the Rayner Brothers Gallery at 52 Guyton Street, Whanganui, New Zealand.
The exhibition opens on Friday the 13th of May, 2011 and features new art works related to pop music by Andrew Ritson, JK Russ, Mark and Paul Rayner and me. I'll be adding my works to my website by the opening of the exhibition and will be previewing a couple of works on my Artist facebook page.
There's been a bit of a lapse in posting due to traveling around New Zeland and limited access to internet connections but here's the next invitation to "Pop Gun" at the Rayner Brothers Gallery at 52 Guyton Street, Whanganui, New Zealand.
The exhibition opens on Friday the 13th of May, 2011 and features new art works related to pop music by Andrew Ritson, JK Russ, Mark and Paul Rayner and me. I'll be adding my works to my website by the opening of the exhibition and will be previewing a couple of works on my Artist facebook page.
MIERCOLES, EL VEINTISIETE DE ABRIL, VEINTE-ONCE
Below is the invitation to my upcoming show at PAULNACHE in New Zealand, the gallery already has the works online to view here. All the paintings have been executed while living in the USA and are a selection of direct reactions to, or mulled-over meditations of living in the USA.
The image below, 'Vision in the Meadows' (2011, Oil on metal, 200 x 270mm/ 8" x 10 1/2") depicts a devil on a toilet, an image that appears on Mexican black velvet painting, doing the devil's work, painting, in the outskirts of 'the fertile meadows/plains', which is the English translation of Las Vegas, named after the Artesian springs discovered in the valley of the area in 1829.
He has symbols of studio practice around him, the ever-pressing notion of time, the divine eye, art materials (the reversed canvas), cheese for subconscious inspiration and the egotistical notion of the need to feed something into society.
Below is the invitation to my upcoming show at PAULNACHE in New Zealand, the gallery already has the works online to view here. All the paintings have been executed while living in the USA and are a selection of direct reactions to, or mulled-over meditations of living in the USA.
The image below, 'Vision in the Meadows' (2011, Oil on metal, 200 x 270mm/ 8" x 10 1/2") depicts a devil on a toilet, an image that appears on Mexican black velvet painting, doing the devil's work, painting, in the outskirts of 'the fertile meadows/plains', which is the English translation of Las Vegas, named after the Artesian springs discovered in the valley of the area in 1829.
He has symbols of studio practice around him, the ever-pressing notion of time, the divine eye, art materials (the reversed canvas), cheese for subconscious inspiration and the egotistical notion of the need to feed something into society.
LUNES, EL DIECIOCHO DE ABRIL, VEINTE-ONCE
finally stretched up and ready to go. Am leaving this one in the USA for now. I think it's more apt here than in NZ. I was painting this way back here.
Trickle-Down Theory', 2011, oil on canvas, 58" x 46
finally stretched up and ready to go. Am leaving this one in the USA for now. I think it's more apt here than in NZ. I was painting this way back here.
Trickle-Down Theory', 2011, oil on canvas, 58" x 46
VIERNES, EL QUINCE DE ABRIL, VEINTE-ONCE
detail from Bosch's 'Death of the Miser' in the Nat. Gal. Washington DC.
I've seen this work before in the flesh, but hadn't studied it long enough to notice the pencil marks outlining unpainted forms on the shelf depicting part of the miser's material wealth. The rest of the painting has many initial sketchmarks, showing a longer arrow as held by death, the volumous toning for the curtains and some minor compositional changes. I haven't read much about the 'plastic' aspects of the painting, but it's quite odd to see so much sketching and thin paint layers remaining on a 'finished' Bosch painting, especially in comparison to his impasto paintwork on the works I've seen in the Prado. Anyway, what was interesting was that I started noticing pencil marks in a few other paintings, most noticeable in Raphael's small Cowper Madonna, where he's redrawn the position of the shoulder and veil.
detail from Bosch's 'Death of the Miser' in the Nat. Gal. Washington DC.
I've seen this work before in the flesh, but hadn't studied it long enough to notice the pencil marks outlining unpainted forms on the shelf depicting part of the miser's material wealth. The rest of the painting has many initial sketchmarks, showing a longer arrow as held by death, the volumous toning for the curtains and some minor compositional changes. I haven't read much about the 'plastic' aspects of the painting, but it's quite odd to see so much sketching and thin paint layers remaining on a 'finished' Bosch painting, especially in comparison to his impasto paintwork on the works I've seen in the Prado. Anyway, what was interesting was that I started noticing pencil marks in a few other paintings, most noticeable in Raphael's small Cowper Madonna, where he's redrawn the position of the shoulder and veil.
MARTES, EL VEINTINUEVE DE MARZO, VEINTE-ONCE
Dag Hammarskjold
2004
pencil on paper
private collection, Wellington, NZ
Dag Hammarskjold
2004
pencil on paper
private collection, Wellington, NZ
SABATO, EL VEINTISEIS DE MARZO, VEINTE-ONCE
A great little ex-voto that piqued my interest in Albuquerque at John Isaac's Antiques store in the historical area. It's got everything, aesthetically, that I like in an ex-voto, the pinky/cadmium scarlet floor, the soft blue sky and the beautifully crafted vision of Christ.
Things have been a bit hectic at my end due to several things need attending too, so that explains the lack of posts. Once cleared, I'll post the offending pieces here on the blog to catch you all up!
A great little ex-voto that piqued my interest in Albuquerque at John Isaac's Antiques store in the historical area. It's got everything, aesthetically, that I like in an ex-voto, the pinky/cadmium scarlet floor, the soft blue sky and the beautifully crafted vision of Christ.
Things have been a bit hectic at my end due to several things need attending too, so that explains the lack of posts. Once cleared, I'll post the offending pieces here on the blog to catch you all up!
SABATO, EL DIECINUEVE DE MARZO, VEINTI-ONCE
The photo, top-left, is a corpus-arm of a Crucified Christ statue that used to hang in the east chapel of the San Xavier Mission in Tucson, AZ. This is all that is left. It interested me as the rough wood skeleton is covered in canvas, then gessoed and polychromed. I knew that this was part of the process of making santos, but it's hard to see on complete forms. The saggy, torn canvas brought back memories of the skin surface of one of those bodies found in the bogs in a museum in the the UK. I also remembered a sketchbook drawing and a failed sculpture that I had made in preparation for my show at the Sarjeant in Whanganui in 2007. I had tried to recreate an arm out of cardboard and hot glue, nailed to wood with an ex-voto hanging off it. It didn't work, so I moved to casting in plaster, and the bottom left photo was the outcome. With molds, you can cast and recast, so I did a few variations on the dissected hand, looking at galvanisation, the power of the symbol of the hand. All these pics besides the San Xavier arm can be seen on the MOIV website here:
http://moiv.mattcouper.com/graveyore.html
The photo, top-left, is a corpus-arm of a Crucified Christ statue that used to hang in the east chapel of the San Xavier Mission in Tucson, AZ. This is all that is left. It interested me as the rough wood skeleton is covered in canvas, then gessoed and polychromed. I knew that this was part of the process of making santos, but it's hard to see on complete forms. The saggy, torn canvas brought back memories of the skin surface of one of those bodies found in the bogs in a museum in the the UK. I also remembered a sketchbook drawing and a failed sculpture that I had made in preparation for my show at the Sarjeant in Whanganui in 2007. I had tried to recreate an arm out of cardboard and hot glue, nailed to wood with an ex-voto hanging off it. It didn't work, so I moved to casting in plaster, and the bottom left photo was the outcome. With molds, you can cast and recast, so I did a few variations on the dissected hand, looking at galvanisation, the power of the symbol of the hand. All these pics besides the San Xavier arm can be seen on the MOIV website here:
http://moiv.mattcouper.com/graveyore.html
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