MIERCOLES, EL VEINTISEIS DE ENERO, VEINTE-ONCE
'Family Portrait', 2011, oil on metal, 8in x 10 1/2in.
One of my favourite paintings so far this year, mostly because of the colours of the background and how they relate to the figures and forms. I resisted putting too many forms in this painting, especially as it's a family portrait (which in my family are only taken when EVERYONE is home). There are familiar symbols, the Liberty/Zelandia figure with the Parthenon head, the bees, my Great Grandfather's Rotherham pocket watch, the Southern Cross and the Eye of Provenance. The text, 'Historia Luget' comes from an inscription of the tomb of Leonardo Bruni in Santa Croce in Florence, Italy, a moving two words, that can be taken in a 'glass half empty/half full' kind of way.
The camera is starting to reappear in my paintings too, mostly because of it's 'birth' is so close to that of New Zealand's signing of the Treaty of Waitangi. In several new paintings, the camera signifies the birth of a nation, which in turn has sparked off many new ideas on that topic. One o the initial pattern recognitions was Griffith's early 1900's film by the same name.
'Family Portrait', 2011, oil on metal, 8in x 10 1/2in.
One of my favourite paintings so far this year, mostly because of the colours of the background and how they relate to the figures and forms. I resisted putting too many forms in this painting, especially as it's a family portrait (which in my family are only taken when EVERYONE is home). There are familiar symbols, the Liberty/Zelandia figure with the Parthenon head, the bees, my Great Grandfather's Rotherham pocket watch, the Southern Cross and the Eye of Provenance. The text, 'Historia Luget' comes from an inscription of the tomb of Leonardo Bruni in Santa Croce in Florence, Italy, a moving two words, that can be taken in a 'glass half empty/half full' kind of way.
The camera is starting to reappear in my paintings too, mostly because of it's 'birth' is so close to that of New Zealand's signing of the Treaty of Waitangi. In several new paintings, the camera signifies the birth of a nation, which in turn has sparked off many new ideas on that topic. One o the initial pattern recognitions was Griffith's early 1900's film by the same name.
DOMINGO, EL VEINTITRES DE ENERO, VEINTE-ONCE
A photo taken by JK Russ of me painting, probably about two-thirds through a bigger painting. This was taken a couple of weeks ago and I've just about finished it. It features references to Sassetta's St Anthony Tormented by Demons and Chardin's Le Singere (both works I've referenced in the past, as far back as 2002). I've decided on a title for the painting: 'The Trickle-Down Effect' which will make sense once I've finished it and posted a photo of the finished painting.
A photo taken by JK Russ of me painting, probably about two-thirds through a bigger painting. This was taken a couple of weeks ago and I've just about finished it. It features references to Sassetta's St Anthony Tormented by Demons and Chardin's Le Singere (both works I've referenced in the past, as far back as 2002). I've decided on a title for the painting: 'The Trickle-Down Effect' which will make sense once I've finished it and posted a photo of the finished painting.
MIERCOLES, EL DIECINUEVE DE ENERO, VEINTE-ONCE
I've just completed varnishing, 'antiquing' and archiving thirty-two new retablos and ex-votos from December/ Jan. The majority of the paintings are small oils on metal, approx 125mm x 90mm and seem to be assessing my new American environment and art scene. I've been keeping to smaller works to keep a balance of confidence and development as I've really just come to understand the gravity of our recent move to the USA and how daunting it really is. I've been looking back at some of my painting from 2003 to 2008 where my work shifted focus from NZ to the USA and popular culture, whilst trying to assess how narrative art from the Renaissance has been transformed into the narration of popular culture. When I first arrived in the USA in July, I was treading water and repeating works that I'd done in 2003/2004 to find an equalibrium to help me make the adjustments to living in a new country. After 5 months of painting, this new series of small works, I think, hold the key to my assessment and assimilation into the new country. Useful talismans/heirlooms indeed.
I've just completed varnishing, 'antiquing' and archiving thirty-two new retablos and ex-votos from December/ Jan. The majority of the paintings are small oils on metal, approx 125mm x 90mm and seem to be assessing my new American environment and art scene. I've been keeping to smaller works to keep a balance of confidence and development as I've really just come to understand the gravity of our recent move to the USA and how daunting it really is. I've been looking back at some of my painting from 2003 to 2008 where my work shifted focus from NZ to the USA and popular culture, whilst trying to assess how narrative art from the Renaissance has been transformed into the narration of popular culture. When I first arrived in the USA in July, I was treading water and repeating works that I'd done in 2003/2004 to find an equalibrium to help me make the adjustments to living in a new country. After 5 months of painting, this new series of small works, I think, hold the key to my assessment and assimilation into the new country. Useful talismans/heirlooms indeed.
MARTES, EL DIECIOCHO DE ENERO, VEINTE-ONCE
Painting problems. Usually, I can solve issues with paintings (the issues, if explained, would seem nonsensical and ridiculous, so i'll just say they're 'issues') through drawing - developing sketches and doodles from the original invention/drawing. Sometimes it's along time which helps resolve the problem. Time allows for clarity. But sometimes in a particularly tricky painting, such as the one below, I want it to be something that it is not. That is, an older painting from 2008 called 'Big Garden'. I painted Big Garden after returning from a 5 month trip around the USA and Europe. I actually started this blog on returning to NZ and you can see the painting in development in some of the early photos (that's Big Garden on the ground by Jo). That painting took 4 days to paint, without any prior drawings or sketches. I just knew what and how it needed to be painting. The work below that I've been nursing for 3 months and been through 3 incantations now and I've just painted over the third. I now saw what needs to come out of this painting and to involve the spirit of the original 'Big Garden' I'm going to attack the painting without any prior sketches and develop it in the canvas.
Painting problems. Usually, I can solve issues with paintings (the issues, if explained, would seem nonsensical and ridiculous, so i'll just say they're 'issues') through drawing - developing sketches and doodles from the original invention/drawing. Sometimes it's along time which helps resolve the problem. Time allows for clarity. But sometimes in a particularly tricky painting, such as the one below, I want it to be something that it is not. That is, an older painting from 2008 called 'Big Garden'. I painted Big Garden after returning from a 5 month trip around the USA and Europe. I actually started this blog on returning to NZ and you can see the painting in development in some of the early photos (that's Big Garden on the ground by Jo). That painting took 4 days to paint, without any prior drawings or sketches. I just knew what and how it needed to be painting. The work below that I've been nursing for 3 months and been through 3 incantations now and I've just painted over the third. I now saw what needs to come out of this painting and to involve the spirit of the original 'Big Garden' I'm going to attack the painting without any prior sketches and develop it in the canvas.
LUNES, EL DIEZ DE ENERO, VEINTE-ONCE
Today on Facebook, I was asked to explain a painting, or myself, from 2005.
I ended up answering:
'It's not enough for me to watch a single football game. I want to see two football games played at the same time on a field that cross over each other. I want the half times to be staggered so there is play all the time. I'm happy for the o...range boys to run on the field too, rather than the players leave the field. I want the player to be able to play any field position in the team and be able to use their hands, even if they're not playing goalee. When the game is close to finishing, I'll get nervous because I want it to continue, so I'd happily be able to pick the players I enjoyed watching the most and make them play in the next game, but of course they'll get too tired and let me down, so I'll need new players, but perhaps not football players.'
I resent handing over answers. If I knew what it meant in the way that people want to know what it means, I'd hesitate because it's then presented in words and in a manner to resolve or make succinct and it becomes that. In the end, the answer will be different according to what I'm specifically asked or wanting to elaborate on.
Today on Facebook, I was asked to explain a painting, or myself, from 2005.
I ended up answering:
'It's not enough for me to watch a single football game. I want to see two football games played at the same time on a field that cross over each other. I want the half times to be staggered so there is play all the time. I'm happy for the o...range boys to run on the field too, rather than the players leave the field. I want the player to be able to play any field position in the team and be able to use their hands, even if they're not playing goalee. When the game is close to finishing, I'll get nervous because I want it to continue, so I'd happily be able to pick the players I enjoyed watching the most and make them play in the next game, but of course they'll get too tired and let me down, so I'll need new players, but perhaps not football players.'
I resent handing over answers. If I knew what it meant in the way that people want to know what it means, I'd hesitate because it's then presented in words and in a manner to resolve or make succinct and it becomes that. In the end, the answer will be different according to what I'm specifically asked or wanting to elaborate on.
DOMINGO, EL NUEVE DE ENERO, VEINTE-ONCE
Have been flat out with work recently, so nothing interesting to post. Here's a version of Millet's 'Man with Hoe' that I saw at The Getty recently. It's a painting I got back to (along with the Ensor's 'Christ Entering Brussels') over and over again. I'm interested in the social message vs. the romanticism of his images, especially in the dusky sunsets he often portrays them in. Jules Breton fits into this mode as well, along with one of my favourite paintings of his in Chicago, 'The Sky Larks'.
Have been flat out with work recently, so nothing interesting to post. Here's a version of Millet's 'Man with Hoe' that I saw at The Getty recently. It's a painting I got back to (along with the Ensor's 'Christ Entering Brussels') over and over again. I'm interested in the social message vs. the romanticism of his images, especially in the dusky sunsets he often portrays them in. Jules Breton fits into this mode as well, along with one of my favourite paintings of his in Chicago, 'The Sky Larks'.
MARTES, EL VEINTIOCHO DE DIECEMBRE, VEINTE-DIEZ
The Christmas/ New Year's break is always productive. I feel like I can get on with my work while others are off on holiday, so there seems to be a quiet around the city. I've had three good steady days of painting, drawing, inventing and reading (have got through a bio on Warhol, Stephen Fry's 'The Hippopotamus' and am making my way through Moby Dick).
It's only these days, with this consistency, that development seems to happen and I'm reminded of a letter I received from Scottish artist, Alan Davie after meeting him in Inverness in 1997. It may seem old-fashioned, but I still believe merits of hard work is the only way to get a glimpse of the dwat.
The quote reads: 'Only a lot of work and struggle will produce the real magic - and it only comes through the struggle of working - (no easy way)!!'
The Christmas/ New Year's break is always productive. I feel like I can get on with my work while others are off on holiday, so there seems to be a quiet around the city. I've had three good steady days of painting, drawing, inventing and reading (have got through a bio on Warhol, Stephen Fry's 'The Hippopotamus' and am making my way through Moby Dick).
It's only these days, with this consistency, that development seems to happen and I'm reminded of a letter I received from Scottish artist, Alan Davie after meeting him in Inverness in 1997. It may seem old-fashioned, but I still believe merits of hard work is the only way to get a glimpse of the dwat.
The quote reads: 'Only a lot of work and struggle will produce the real magic - and it only comes through the struggle of working - (no easy way)!!'
LUNES, EL VEINTISIETE DE DIECEMBRE, VEINTE-DIEZ
I hope everyone had a great Christmas break. Here are three photos off our Xmas presents; the 'Trubyte Dentures Portfolio' and Casey Weldon's 'Kitty Kitty (Rust)' painting.
I hope everyone had a great Christmas break. Here are three photos off our Xmas presents; the 'Trubyte Dentures Portfolio' and Casey Weldon's 'Kitty Kitty (Rust)' painting.
MARTES, EL VIENTIUNO DE DECIEMBRE, VEINTE-DIEZ
R.I.P. Captain Beefheart. Click here to read my friend, Simon Sweetman's obit on Blog On The Tracks.
R.I.P. Captain Beefheart. Click here to read my friend, Simon Sweetman's obit on Blog On The Tracks.
LUNES, EL VIENTE DE DECIEMBRE, VEINTE-DIEZ
I've now got our Prologue website back up and running on the internet. I had it hosted on a free server which because a spammer's pitstop, so the site couldn't be shared on forums and along with javascript issue, I couldn't put it on my website hosted site asa subdomain. So with a quick fix of the pop-ups, I'm now hosting it on my domain server.
The website was intended as a co-catalogue (we printed a very limited edition hardcopy catalogue too) for the physical exhibition at the Sarjeant Gallery, Whanganui, NZ and contained about half to 2/3rds of our present collection.
The website was intended as a co-catalogue (we printed a very limited edition hardcopy catalogue too) for the physical exhibition at the Sarjeant Gallery, Whanganui, NZ and contained about half to 2/3rds of our present collection.
DOMINGO, EL DIECINUEVE DE DECIEMBRE, VEINTE-DIEZ
My work has been featured on ShareMag, a website/blog from Portugal, promoting international artists. I was asked to submit some works from a series with text, so I put forward a few of the retablos from my series 'Thirty-Three'. Also accompanying it is part of the essay by Dr. Peter Howland, 'The Divine Self and the Church of Auto-Resurrection', which will be published in full in my upcoming publication catalogue for the touring exhibition 'Thirty - Three'. You can view my link on the blog here
My work has been featured on ShareMag, a website/blog from Portugal, promoting international artists. I was asked to submit some works from a series with text, so I put forward a few of the retablos from my series 'Thirty-Three'. Also accompanying it is part of the essay by Dr. Peter Howland, 'The Divine Self and the Church of Auto-Resurrection', which will be published in full in my upcoming publication catalogue for the touring exhibition 'Thirty - Three'. You can view my link on the blog here
JUEVES, EL DIECISEIS DE DICIEMBRE, VIENTE-DIEZ
two of three new mexican paintings I aquired in Santa Monica at Historia Antiques. The third one is another small ex-voto by the same artist that I already have an example of.
left: San Geronimo, attributed to Geonimo de Leon, Mexico, c. late 1800's, right: La Vindimia Mistica, Unknown artist, Mexico, Oil on tin, 19th century
two of three new mexican paintings I aquired in Santa Monica at Historia Antiques. The third one is another small ex-voto by the same artist that I already have an example of.
left: San Geronimo, attributed to Geonimo de Leon, Mexico, c. late 1800's, right: La Vindimia Mistica, Unknown artist, Mexico, Oil on tin, 19th century
LUNES, EL TRECE DE DICIEMBRE, VIENTE-DIEZ
me in front of Fra Angelico's 'Mocking of Christ' at San Marco, Florence, Italy in 2004. Part of a big European trip tacked on at the end of an exhibition I had in London.
We're off to LA today to mix a bit of pleasure in with some business. Will update the blog soon.
me in front of Fra Angelico's 'Mocking of Christ' at San Marco, Florence, Italy in 2004. Part of a big European trip tacked on at the end of an exhibition I had in London.
We're off to LA today to mix a bit of pleasure in with some business. Will update the blog soon.
DOMINGO, EL DOCE DE DICIEMBRE, VIENTE-DIEZ
A recently completed painting, titled 'Neo-Contemporary Self Portrait', now winging it's way to a new home in Denver, Colorado.
The painting is made up of several symbols that, I believe make up me and my practice. I don't want to spell it out (I dread it when someone asks me 'what it means', I tell them something and they instantly believe it)
There's a reference to Fra Angelico's 'Mocking of Christ' fresco from San Marco, Florence, Italy; also a reference to Philip Guston's Klan figures in the hills. Beato is Italian for 'Blessed' (Fra Angelico was known as Il Beato Angelico) and my silhouette is saying 'nothing'
Now, all you have to do is the math.
A recently completed painting, titled 'Neo-Contemporary Self Portrait', now winging it's way to a new home in Denver, Colorado.
The painting is made up of several symbols that, I believe make up me and my practice. I don't want to spell it out (I dread it when someone asks me 'what it means', I tell them something and they instantly believe it)
There's a reference to Fra Angelico's 'Mocking of Christ' fresco from San Marco, Florence, Italy; also a reference to Philip Guston's Klan figures in the hills. Beato is Italian for 'Blessed' (Fra Angelico was known as Il Beato Angelico) and my silhouette is saying 'nothing'
Now, all you have to do is the math.
SABATO, EL ONCE DE DICIEMBRE, VIENTE-DIEZ
a stunning Louis Eilshemius painting, 'The Rejected Suitor', 1915, in the Phillips Collection, Washington DC. I'm hoping to see this painting when I head over to DC in February for the Philip Guston 'Roma' exhibition. I've never seen an Eilshemius painting in the flesh, so I'm looking forward to studying it.
My friend Peter showed me the amazing Abrams - published book of his work in the late 90's and along with Von Stuck, Kublin, De Chirico and Bocklin, he's an artist I return to when I want to see potent artworks that are heavy with symbolism and duende.
a stunning Louis Eilshemius painting, 'The Rejected Suitor', 1915, in the Phillips Collection, Washington DC. I'm hoping to see this painting when I head over to DC in February for the Philip Guston 'Roma' exhibition. I've never seen an Eilshemius painting in the flesh, so I'm looking forward to studying it.
My friend Peter showed me the amazing Abrams - published book of his work in the late 90's and along with Von Stuck, Kublin, De Chirico and Bocklin, he's an artist I return to when I want to see potent artworks that are heavy with symbolism and duende.
VIERNES, EL NUEVE DE DICIEMBRE, VIENTE-DIEZ
Tonight is the opening of JK Russ' exhibition 'American Dream' at Thermostat Art Gallery in Palmerston North, New Zealand. Although there's a time delay between New Zealand and where we are in the USA, we'll be available to Skype the gallery during the exhibition opening to say hi to those that make it to the show.
The work will be viewable on Russ' website from tomorrow at this link here.
Tonight is the opening of JK Russ' exhibition 'American Dream' at Thermostat Art Gallery in Palmerston North, New Zealand. Although there's a time delay between New Zealand and where we are in the USA, we'll be available to Skype the gallery during the exhibition opening to say hi to those that make it to the show.
The work will be viewable on Russ' website from tomorrow at this link here.
JUEVES, EL NUEVE DE DICIEMBRE, VIENTE-DIEZ
The link below features photographs from last night's opening of 'Away From Dios' at Galeria CMTV in Barcelona, Spain.
http://www.facebook.com/photo.php?fbid=157908817585333&set=a.121498517893030.8103.100000986481678#!/album.php?aid=2070161&id=1562634693
It's a Facebook link, so you might have 'friend' them first to see the photos.
The link below features photographs from last night's opening of 'Away From Dios' at Galeria CMTV in Barcelona, Spain.
http://www.facebook.com/photo.php?fbid=157908817585333&set=a.121498517893030.8103.100000986481678#!/album.php?aid=2070161&id=1562634693
It's a Facebook link, so you might have 'friend' them first to see the photos.
MIERCOLES, EL OCHO DE DICIEMBRE, VIENTE-DIEZ
Tomorrow is the opening of 'AWAY FROM DIOS' at GalerÃa CMTV in Barcelona, Spain. Below are links to a few of the press releases for the exhibition:
http://www.lamonodigital.net/blog/?p=32733
http://blog.taxiartmagazine.com/2010/12/cmtv-abre-away-from-dios-los-7-1-pecados-capitales/
http://www.comomevesteveras.com/awayfromdios/matthew_couper.htm
http://www.comomevesteveras.com/awayfromdios//
In the last link above, you can see the other work in the exhibition
Tomorrow is the opening of 'AWAY FROM DIOS' at GalerÃa CMTV in Barcelona, Spain. Below are links to a few of the press releases for the exhibition:
http://www.lamonodigital.net/blog/?p=32733
http://blog.taxiartmagazine.com/2010/12/cmtv-abre-away-from-dios-los-7-1-pecados-capitales/
http://www.comomevesteveras.com/awayfromdios/matthew_couper.htm
http://www.comomevesteveras.com/awayfromdios//
In the last link above, you can see the other work in the exhibition
Bethany Marchman - PEREZA (Sloth) 90 x 90 cm, Óleo sobre tela
MARTES, EL SIETE DE DICIEMBRE, VIENTE-DIEZ
a copy of Sassetta's 'St Anthony the Hermit being tormented by Devils', the original painting being in the Pinacoteca Nazionale in Siena, Italy. I made this copy to emphasise the graffiti on the base of the original, which I adapted into in a large painting from 2006 called 'The Birth of Death (Under Black Light)', but also to try to dodge copyright, which to then,after finishing the drawing, realised that the then 583 year old painting would probably be out of copyright.
You can view the painting 'The Birth of Death...' here:
http://moiv.mattcouper.com/ascendant1.html 
a copy of Sassetta's 'St Anthony the Hermit being tormented by Devils', the original painting being in the Pinacoteca Nazionale in Siena, Italy. I made this copy to emphasise the graffiti on the base of the original, which I adapted into in a large painting from 2006 called 'The Birth of Death (Under Black Light)', but also to try to dodge copyright, which to then,after finishing the drawing, realised that the then 583 year old painting would probably be out of copyright.
You can view the painting 'The Birth of Death...' here:
http://moiv.mattcouper.com/ascendant1.ht
LUNES, EL SEIS DE DICIEMBRE, VIENTE-DIEZ
Sassetta's 'St Anthony the Hermit being tormented by Devils', 1423, Panel, 24 x 39 cm, Pinacoteca Nazionale in Siena, Italy. I got this image off the internet, specifically from one of those websites that advertise "quality oil reproductions" of an artwork. They've actually cleaned up this image by removing the incised graffiti that appears along the base of the image.
Sassetta's 'St Anthony the Hermit being tormented by Devils', 1423, Panel, 24 x 39 cm, Pinacoteca Nazionale in Siena, Italy. I got this image off the internet, specifically from one of those websites that advertise "quality oil reproductions" of an artwork. They've actually cleaned up this image by removing the incised graffiti that appears along the base of the image.
DOMINGO, EL CINCO DE DICIEMBRE, VIENTE-DIEZ
I'm just getting ready to start a new painting. At this point, it feels like I've never painted before and I have no idea what I'm doing. I love that feeling. I have no fear of the starting of a painting though, the most painful aspect is the '3/4th finished' dilemma for me, because I expect the painting to be mostly finished, but then the anxiety sets in because I'm getting closer to completion, and often I struggle to assess whether it's finished or not. That's when I tend to find the original primer colour, remix it and scrape it over the painting with a spatula. It sort of bundles the whole painting up, then i can see a bit more clearly to what needs to be done and clarified to complete the work.
At present, I have Sassetta flying around in my head, so I'll be tapping back into his influence that I strongly felt while painting some of the big works in 2006/7
I'm just getting ready to start a new painting. At this point, it feels like I've never painted before and I have no idea what I'm doing. I love that feeling. I have no fear of the starting of a painting though, the most painful aspect is the '3/4th finished' dilemma for me, because I expect the painting to be mostly finished, but then the anxiety sets in because I'm getting closer to completion, and often I struggle to assess whether it's finished or not. That's when I tend to find the original primer colour, remix it and scrape it over the painting with a spatula. It sort of bundles the whole painting up, then i can see a bit more clearly to what needs to be done and clarified to complete the work.
At present, I have Sassetta flying around in my head, so I'll be tapping back into his influence that I strongly felt while painting some of the big works in 2006/7
SABATO, EL CUATRO DE DICIEMBRE, VIENTE-DIEZ
I received this book in the mail today, along with a rare Guston catalogue from a Skidmore College exhibition from the mid 80's titled 'Early And Late Works"
The book I'm holding in the photo is excellent and I'm really enjoying it as it shows Guston's dedication to the process, act and execution of painting. It features many writings, lectures and artist interviews - some I've read previously and some I haven't but it's great to have them in a collected volume. I believe it to be essential reading for any painter, wither to further your knowledge or to just get warm fuzzies from the mulitude of clever analogies and quotes used by Guston to illustrate what it is to paint.
I received this book in the mail today, along with a rare Guston catalogue from a Skidmore College exhibition from the mid 80's titled 'Early And Late Works"
The book I'm holding in the photo is excellent and I'm really enjoying it as it shows Guston's dedication to the process, act and execution of painting. It features many writings, lectures and artist interviews - some I've read previously and some I haven't but it's great to have them in a collected volume. I believe it to be essential reading for any painter, wither to further your knowledge or to just get warm fuzzies from the mulitude of clever analogies and quotes used by Guston to illustrate what it is to paint.
VIERNES, EL TRES DE DICIEMBRE, VIENTE-DIEZ
Last night I went out to an opening at Brett Wesley Gallery in Las Vegas, a three-person show titled 'Wild at Heart'. I particularly like the work of Sri Whipple because of it's smart art-historical referencing and knowledge and freedom of subject matter. Unfortunately, the better paintings, which had a plethora of penis and vagina-type forms, were squirreled out the back of the gallery, obviously in a fashion to NOT offend the regular buyers to the gallery ( the painting is also NOT featured on the gallery website). I got to talk to Sri and we talked non-stop for a good 20 mins (it could have been longer, but it was his opening and I thought it best not to take up his time).
Anyway, in thinking of his work, I can up with this idea, which I recently posted on Facebook:
"an exhibition I'd really like to see, preferably curated by Robert Storr, possibly titled 'F**k Paintings', showing the work of Barry Reigate (UK), Robert McLeod (NZ) and Sri Whipple (USA)"
The responses were excellent, with other folk suggesting who else could be in the exhibition and where I could possible get hold of Robert Storr.
To this I answered:
"My idea here is it look at pattern recognition in trends of painting that have a core notion but their work pushes out from that point. Also by grouping three geographically disparate artists, it shows a social conscienceness towards paint and the body, you know -pickin up on that de Kooning statement of how oil paint was invented to depict flesh."
Last night I went out to an opening at Brett Wesley Gallery in Las Vegas, a three-person show titled 'Wild at Heart'. I particularly like the work of Sri Whipple because of it's smart art-historical referencing and knowledge and freedom of subject matter. Unfortunately, the better paintings, which had a plethora of penis and vagina-type forms, were squirreled out the back of the gallery, obviously in a fashion to NOT offend the regular buyers to the gallery ( the painting is also NOT featured on the gallery website). I got to talk to Sri and we talked non-stop for a good 20 mins (it could have been longer, but it was his opening and I thought it best not to take up his time).
Anyway, in thinking of his work, I can up with this idea, which I recently posted on Facebook:
"an exhibition I'd really like to see, preferably curated by Robert Storr, possibly titled 'F**k Paintings', showing the work of Barry Reigate (UK), Robert McLeod (NZ) and Sri Whipple (USA)"
The responses were excellent, with other folk suggesting who else could be in the exhibition and where I could possible get hold of Robert Storr.
To this I answered:
"My idea here is it look at pattern recognition in trends of painting that have a core notion but their work pushes out from that point. Also by grouping three geographically disparate artists, it shows a social conscienceness towards paint and the body, you know -pickin up on that de Kooning statement of how oil paint was invented to depict flesh."
JUEVES, EL DOS DE DICIEMBRE, VIENTE-DIEZ
I've got a few artworks on show in Wellington at Mark Hutchins Gallery, as part of his Maquette exhibition. Here's a link to the works in the show.
I've got a few artworks on show in Wellington at Mark Hutchins Gallery, as part of his Maquette exhibition. Here's a link to the works in the show.
MIERCOLES, EL UNO DE DICIEMBRE, VEINTE-DIEZ
Three portraits of the Bonham Family, 1825 by William Bonnell (1804-65) Oil on panel. Coll. of Chicago Institute. Possibly a reference point for the enlarged heads of American Pop Surrealism? Recently, I've been talking to Wellington artist Liam Barr. I guess his work could be put into the Pop Surrealism category, with Martk Ryden as the most well-known proponent of the movement. These works popped into my head for their head to body scale as a possible influence on Ryden. This photo was taken during our trip to Chicago in 2008.
Three portraits of the Bonham Family, 1825 by William Bonnell (1804-65) Oil on panel. Coll. of Chicago Institute. Possibly a reference point for the enlarged heads of American Pop Surrealism? Recently, I've been talking to Wellington artist Liam Barr. I guess his work could be put into the Pop Surrealism category, with Martk Ryden as the most well-known proponent of the movement. These works popped into my head for their head to body scale as a possible influence on Ryden. This photo was taken during our trip to Chicago in 2008.
MARTES, EL TRIENTE DE NOVIEMBRE, VEINTE-DIEZ
A new retablo started today. I've been struggling a bit in the studio lately, so I needed to vent out a bit. A Facebook conversation with Pauline from 'Art And My Life' blog ( see links to the right) made a statement about neurosis and venting and I thought that was a great starting point. There's still more to go to finish it, but subtle little additions so as to not distract from the initial impact that it's a sacred spleen rather than a sacred heart.
I picked up the old frame from a Savers store here in Las Vegas, I've been having good fortune scoring lovely antique frames around the city.
A new retablo started today. I've been struggling a bit in the studio lately, so I needed to vent out a bit. A Facebook conversation with Pauline from 'Art And My Life' blog ( see links to the right) made a statement about neurosis and venting and I thought that was a great starting point. There's still more to go to finish it, but subtle little additions so as to not distract from the initial impact that it's a sacred spleen rather than a sacred heart.
I picked up the old frame from a Savers store here in Las Vegas, I've been having good fortune scoring lovely antique frames around the city.
LUNES, EL VEINTINUEVE DE NOVIEMBRE, VEINTE-DIEZ
An interesting comparison I found as I was thinking about the Magritte painting in the right. The work on the left is a reverse glass painting in our collection. While watching a very good DVD on Magritte that started off by tracing his de Chirico's impression on him, there were animations of some of his paintings. The one on the right had candles melting in the holders, which instatly reminded me of the work on the left. Also the mantlepiece, the train as a mortality symbol (do you think?) and the mirror as the skull, which was always designed as a way for the viewer to confront their mortality.
An interesting comparison I found as I was thinking about the Magritte painting in the right. The work on the left is a reverse glass painting in our collection. While watching a very good DVD on Magritte that started off by tracing his de Chirico's impression on him, there were animations of some of his paintings. The one on the right had candles melting in the holders, which instatly reminded me of the work on the left. Also the mantlepiece, the train as a mortality symbol (do you think?) and the mirror as the skull, which was always designed as a way for the viewer to confront their mortality.
SABATO, EL VEINTISIETE DE NOVIEMBRE, VEINTE-DIEZ
We headed up to Red Rock Canyon to take the Ice Box hike with Mike and Terri. Was definitely a great idea to get out and stretch our legs and enjoy good company since the art at present is dragging it's feet. We're also planning a trip to LA soon to catch up with some folk and head out to a few fav's, The Getty Museum, Historia Antiques in Santa Monica, LACMA, and the dealer galleries at Bergamot Station and Culver City. Photo by JK Russ.
JUEVES, EL VEINTICINCO DE NOVIEMBRE, VEINTE-DIEZ
I've found that yesterday's Magritte painting, The Bungler was painted for the International Bulletin of Surrealism (Belgium edition), also I was watching a DVD on Magritte and this film footage of an oil painting appeared. I've never seen the painting before, So I'm going to try and hunt it out.
I've found that yesterday's Magritte painting, The Bungler was painted for the International Bulletin of Surrealism (Belgium edition), also I was watching a DVD on Magritte and this film footage of an oil painting appeared. I've never seen the painting before, So I'm going to try and hunt it out.
MIERCOLES, EL VEINTICUATRO DE NOVIEMBRE, VEINTE-DIEZ
Rene Magritte, La Gâcheuse (The Bungler), 1935, collection of the National Galleries of Scotland.
It's only a small work, about A4 size if I remember rightly. I saw in in 2003 in the Nat Gallery in Edinburgh in the Roland Penrose collection and it reached out and rang the gong in the head. I had a the postcard of it hanging on my studio for years and it influenced many paintings, including some of the large works I did in Scotland during my 2003 Royal Overseas League Residency.
Rene Magritte, La Gâcheuse (The Bungler), 1935, collection of the National Galleries of Scotland.
It's only a small work, about A4 size if I remember rightly. I saw in in 2003 in the Nat Gallery in Edinburgh in the Roland Penrose collection and it reached out and rang the gong in the head. I had a the postcard of it hanging on my studio for years and it influenced many paintings, including some of the large works I did in Scotland during my 2003 Royal Overseas League Residency.
MARTES, EL VEINTITRES DE NOVIEMBRE, VEINTE-DIEZ
Late November and December sees in the last of the exhibition openings for the year.
Below are listed the upcoming exhibition openings that feature my work:
~Away From Dios: The Seven Deadly Sins, CMTV GalerÃa, Carrer de Sant Pere Mes Alt 36 Barcelona, Spain, 9 December 2010 - January 2011. I have a single oil painting in this exhibition, along with six other international artists, that deal with contemporary updates on the Seven Deadly Sins. You can read the press release here.
~Goonies Never Say Die! Group exhibition, Blackbird Studios, 1551 Commerce St (Commerce & Wyoming), Las Vegas, USA, 3 - 22 December 2010. I have a small, framed drawing, titled 'Superchunk', of the 'dismembered' statue of Michelangelo's David, featured in the film. (drawing is below)
~Reconstructed. Group exhibition, Mahara Gallery, Mahara Pl, Waikanae, New Zealand, 28 November 2010 - 23 January 2011. I have a diorama from 2003 and three small crucifixes.
~Maquette. Group Exhibition, Mark Hutchins Gallery, 216a Willis St, Wellington, New Zealand, December 2010 - January 2011
Continuing Exhibitions:
~Credo and Quest–a selective survey of Religion and Spirituality in New Zealand Art, Whangarei Art Museum, Water Street, Whangarei, New Zealand, 15 Nov 2010 – 7 Jan 2011. I have a wooden devotional box from 2009 and a large crucifixion painting from 2006, courtesy of the Wallace Collection, Auckland.
*Links to the gallery websites and the images in the exhibitions can be found on my website homepage
For a any more information, don't hesitate to contact me.
I hope everyone has a safe holiday season!
hasta pronto
Matthew
Late November and December sees in the last of the exhibition openings for the year.
Below are listed the upcoming exhibition openings that feature my work:
~Away From Dios: The Seven Deadly Sins, CMTV GalerÃa, Carrer de Sant Pere Mes Alt 36 Barcelona, Spain, 9 December 2010 - January 2011. I have a single oil painting in this exhibition, along with six other international artists, that deal with contemporary updates on the Seven Deadly Sins. You can read the press release here.
~Goonies Never Say Die! Group exhibition, Blackbird Studios, 1551 Commerce St (Commerce & Wyoming), Las Vegas, USA, 3 - 22 December 2010. I have a small, framed drawing, titled 'Superchunk', of the 'dismembered' statue of Michelangelo's David, featured in the film. (drawing is below)
~Reconstructed. Group exhibition, Mahara Gallery, Mahara Pl, Waikanae, New Zealand, 28 November 2010 - 23 January 2011. I have a diorama from 2003 and three small crucifixes.
~Maquette. Group Exhibition, Mark Hutchins Gallery, 216a Willis St, Wellington, New Zealand, December 2010 - January 2011
Continuing Exhibitions:
~Credo and Quest–a selective survey of Religion and Spirituality in New Zealand Art, Whangarei Art Museum, Water Street, Whangarei, New Zealand, 15 Nov 2010 – 7 Jan 2011. I have a wooden devotional box from 2009 and a large crucifixion painting from 2006, courtesy of the Wallace Collection, Auckland.
*Links to the gallery websites and the images in the exhibitions can be found on my website homepage
For a any more information, don't hesitate to contact me.
I hope everyone has a safe holiday season!
hasta pronto
Matthew
LUNES, EL VEINTIDOS DE NOVIEMBRE, VENITE-DIEZ
BEN CAUCHI-The Doppler Effect
December 4 2010 – January 28 2011
190 Wicksteed Street Whanganui 4500 NEW ZEALAND
www.mcnamara.co.nz
BEN CAUCHI-The Doppler Effect
December 4 2010 – January 28 2011
190 Wicksteed Street Whanganui 4500 NEW ZEALAND
www.mcnamara.co.nz
DOMINGO, EL VEINTIUNO DE NOVIEMBRE, VENITE-DIEZ
A beautiful carved Head of John The Baptist, lot 79, a Sth German, 17th C. head of St John the Baptist...6,000 - 8,000 quid estimate. http://www.sothebys.com/
A beautiful carved Head of John The Baptist, lot 79, a Sth German, 17th C. head of St John the Baptist...6,000 - 8,000 quid estimate. http://www.sothebys.com/
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