A triptych painting that will be exhibited in the 'Creative Hawkes Bay Invitational' at the Hastings City Art Gallery in April. The painting is titled 'Creator, Nurturer, Lifegiver' and was painted in 2010. It measures 2725mm x 1050mm.
VIERNES, EL VIENTICINCO DE FEBRERO, VEINTE-ONCE
Thinking of Christchurch...If you're with Westpac, there's a safe way (by that I mean it goes to the Salvation Army via Westpac) to donate to the Christchurch Quake fund. Every little bit helps.
Thinking of Christchurch...If you're with Westpac, there's a safe way (by that I mean it goes to the Salvation Army via Westpac) to donate to the Christchurch Quake fund. Every little bit helps.
MIERCOLES, EL VEINTITRES DE FEBRERO, VEINTE-ONCE
An update for Feb / March exhibitions:
I have one exhibition now open in Brooklyn, New York at DUBpies, a small cafe at 211 Prospect Park West (corner of 16th St). This exhibition features fifty-one small paintings which can be viewed on my website at the link below:
http://www.mattcouper.com/Dubart.html
and an upcoming group exhibition at La Luz de Jesus on Hollywood Blvd in Los Angeles. I have five paintings that have been accepted for the annual 'Everything But The Kitschen Sync, Vol. XVI'. More details on the La Luz De Jesus website here:
http://www.laluzdejesus.com/shows/2011/Kitschen-Sync2011/KitschenSync-index2011.htm
If you'd like more information on the exhibitions, feel free to get in contact with me by contacting me via my contact page.
You can also find more updates on upcoming exhibitions on my website homepage.
I also want to take this chance to extend my sympathies to those in Christchurch who have suffered in the recent earthquake. It was very distressing watching the events unfold so far away. My thoughts are with those who are affected.
Matt.
Snake and Monkey, 2011, oil on metal, 200mm x 275mm
An update for Feb / March exhibitions:
I have one exhibition now open in Brooklyn, New York at DUBpies, a small cafe at 211 Prospect Park West (corner of 16th St). This exhibition features fifty-one small paintings which can be viewed on my website at the link below:
http://www.mattcouper.com/Dubart.html
and an upcoming group exhibition at La Luz de Jesus on Hollywood Blvd in Los Angeles. I have five paintings that have been accepted for the annual 'Everything But The Kitschen Sync, Vol. XVI'. More details on the La Luz De Jesus website here:
http://www.laluzdejesus.com/shows/2011/Kitschen-Sync2011/KitschenSync-index2011.htm
If you'd like more information on the exhibitions, feel free to get in contact with me by contacting me via my contact page.
You can also find more updates on upcoming exhibitions on my website homepage.
I also want to take this chance to extend my sympathies to those in Christchurch who have suffered in the recent earthquake. It was very distressing watching the events unfold so far away. My thoughts are with those who are affected.
Matt.
Snake and Monkey, 2011, oil on metal, 200mm x 275mm
SABATO, EL DIECINUEVE DE FEBRERO, VEINTE-ONCE
Just about fallen of the face of the earth, well, here anyway, been busy with work and also had a week of gigs, exhibition openings and meet-ups with friends, which is when I usually set up my posts for this blog.
Went to two gigs of the Black Rebel Motorcycle Club at Cosmopolitan on Tues and Wed, you can see pics by Jo here.
Also been busy finishing up, packing and sending paintings around the country. Some headed off to LA to La Luz De Jesus for a group exhibition opening on the 4th of March for the annual 'Everything But The Kitschen Sync, Vol XVI'.
St. Peter Crucified in New Zealand, 2011, oil on metal.
Just about fallen of the face of the earth, well, here anyway, been busy with work and also had a week of gigs, exhibition openings and meet-ups with friends, which is when I usually set up my posts for this blog.
Went to two gigs of the Black Rebel Motorcycle Club at Cosmopolitan on Tues and Wed, you can see pics by Jo here.
Also been busy finishing up, packing and sending paintings around the country. Some headed off to LA to La Luz De Jesus for a group exhibition opening on the 4th of March for the annual 'Everything But The Kitschen Sync, Vol XVI'.
St. Peter Crucified in New Zealand, 2011, oil on metal.
DOMINGO, EL TRECE DE FEBRERO, VEINTE-ONCE
Recently completed paintings, destined for Brooklyn, New York. Some are developments from previous paintings and drawings, (the Nubian carving in the blender, the broken heart, la Mano Poderosa, the sphinx, the Chardin painting monkey) and some are new developments from drawings and sketches since moving to the USA. The devil on the toilet painting comes from a tradition of velvet paintings that I recently discovered on the internet, once I discovered it for myself, it seemed to keep popping up everywhere (google devil on the can/john/toilet an you'll come up with several examples on Ebay, etc.) I like the devil for a couple of reasons - I see it as a follow-on from the caganer tradition in Spain and also it reminds me of a statement by Russian painter Kasimir Malevich who stated that ikon painters from Russia painted the hairs on the devil's tail the same way they'd paint the hairs on God's beard...an interesting painting dilemma. I haven't got the source for the quote as I remember reading it over a decade ago, if I remember correctly, in a Harold Rosenberg article.
Recently completed paintings, destined for Brooklyn, New York. Some are developments from previous paintings and drawings, (the Nubian carving in the blender, the broken heart, la Mano Poderosa, the sphinx, the Chardin painting monkey) and some are new developments from drawings and sketches since moving to the USA. The devil on the toilet painting comes from a tradition of velvet paintings that I recently discovered on the internet, once I discovered it for myself, it seemed to keep popping up everywhere (google devil on the can/john/toilet an you'll come up with several examples on Ebay, etc.) I like the devil for a couple of reasons - I see it as a follow-on from the caganer tradition in Spain and also it reminds me of a statement by Russian painter Kasimir Malevich who stated that ikon painters from Russia painted the hairs on the devil's tail the same way they'd paint the hairs on God's beard...an interesting painting dilemma. I haven't got the source for the quote as I remember reading it over a decade ago, if I remember correctly, in a Harold Rosenberg article.
VIERNES, EL ONCE DE FEBRERO, VEINTE-ONCE
Have been flat tack with new paintings for my next couple of shows. One in LA at La Luz De Jesus Gallery on Hollywood Blvd, which opens on the 4th of March, a little show in a cafe in Brooklyn opening next week and some works for an upcoming exhibition in Whanganui, New Zealand at the Rayner Bros. Will fill you in a bit later on with more details and the works in the shows.
In the meantime, here's a couple of studio shots:
Have been flat tack with new paintings for my next couple of shows. One in LA at La Luz De Jesus Gallery on Hollywood Blvd, which opens on the 4th of March, a little show in a cafe in Brooklyn opening next week and some works for an upcoming exhibition in Whanganui, New Zealand at the Rayner Bros. Will fill you in a bit later on with more details and the works in the shows.
In the meantime, here's a couple of studio shots:
LUNES, SIETE DE FEBRERO, VEINTE-ONCE
third and final installation photo from 'One Wall / Thirty-Three Paintings' at Enrique Nevarez Studio at Blackbird, 1551 S. Commerce St, Las Vegas. The exhibition was for one night only, but the works can be viewed on my website at the link above.
third and final installation photo from 'One Wall / Thirty-Three Paintings' at Enrique Nevarez Studio at Blackbird, 1551 S. Commerce St, Las Vegas. The exhibition was for one night only, but the works can be viewed on my website at the link above.
DOMINGO, SEIS DE FEBRERO, VEINTE-ONCE
second installation photo from 'One Wall / Thirty-Three Paintings' at Enrique Nevarez Studio at Blackbird, 1551 S. Commerce St, Las Vegas.
second installation photo from 'One Wall / Thirty-Three Paintings' at Enrique Nevarez Studio at Blackbird, 1551 S. Commerce St, Las Vegas.
VIERNES, CUATRO DE FEBRERO, VEINTE-ONCE
Tonight is my little exhibition 'One Wall / Thirty-Three Paintings' at Enrique Nevarez Studio at Blackbird, 1551 S. Commerce St, Las Vegas. It's only up for for one night and I'l be reconfiguring the hanging throughout the night, trying to have some fun with the works and making some different narratives with them. I'll be taking photos of the installations and adding them through the night on my website. Some of the works in the exhibition are online here.
If you're in Las Vegas, come along, introduce yourself and say hi.
Tonight is my little exhibition 'One Wall / Thirty-Three Paintings' at Enrique Nevarez Studio at Blackbird, 1551 S. Commerce St, Las Vegas. It's only up for for one night and I'l be reconfiguring the hanging throughout the night, trying to have some fun with the works and making some different narratives with them. I'll be taking photos of the installations and adding them through the night on my website. Some of the works in the exhibition are online here.
If you're in Las Vegas, come along, introduce yourself and say hi.
JUEVES, TRES DE FEBRERO, VEINTE-ONCE
A little experiment - I spilt some indian ink the other day over some pieces of aluminum that I had laid out ready to prime for oil paintings. It was damned expensive ink too, so I spread it over a couple of the pieces and let it dry. This afternoon, while watching a doco on Delacroix, I picked up the piece and started scratching into it with a compass. It reminded me of the scraperboard drawings we did at school, but those ones were on cardboard prepared with a layer of clay, then covered with indian ink. In a way I like this better as you get the glistening of the shiny metal when exposed. You can see in the photo below, there were some areas where the ink didn't take to the surface of the metal as there must have been some oil-based residue on the surface, which acted as a resist to the ink and when scratching into it, whole flakes came off. Something I'll need to assess if I want to use this medium and technique.
I like how this technique lines up with my scrimshaw which are halted at present due to not having the tools to make them. This is like the photographic negative of them.
A little experiment - I spilt some indian ink the other day over some pieces of aluminum that I had laid out ready to prime for oil paintings. It was damned expensive ink too, so I spread it over a couple of the pieces and let it dry. This afternoon, while watching a doco on Delacroix, I picked up the piece and started scratching into it with a compass. It reminded me of the scraperboard drawings we did at school, but those ones were on cardboard prepared with a layer of clay, then covered with indian ink. In a way I like this better as you get the glistening of the shiny metal when exposed. You can see in the photo below, there were some areas where the ink didn't take to the surface of the metal as there must have been some oil-based residue on the surface, which acted as a resist to the ink and when scratching into it, whole flakes came off. Something I'll need to assess if I want to use this medium and technique.
I like how this technique lines up with my scrimshaw which are halted at present due to not having the tools to make them. This is like the photographic negative of them.
MIERCOLES, DOS DE FEBRERO, VEINTE-ONCE
After a couple of months, I sat down and decided to finish the spleen painting. I actually posted it back in November, last year, here on my blog. Based on the Catholic 'Sacred Heart', I ended up thinking it would be best to keep the imagery reasonably generic and then went to work drawing sketches of what I thought were good analogies for 'venting', and to keep it kind of upbeat for such a tempestuous subject. I decided on the flick of a rubberband, the violence of the broken bottle as a weapon , wrist-slitting, a gunstapler attack on a penis (as seen on Dirty Sanchez) and a snail traveling over a razorblade.
LUNES, EL TRIENTIUNO DE ENERO, VEINTE-ONCE
As I used to do in New Zealand, I'd trawl junk shops and opshops for old period frames to mount my paintings in. Often, I'd have to work on a specific sized surface that I'd have to cut especially for the frame rebate. It was a hassle if I didn't pull-off the painting as then I'd have to have another go at repainting the idea, trying to get it right for the frame. I recently also found an old photographic frame for an 8x10 Ambrotype or tintype, so I've painted a retablo of an old view camera to mount in it. I'll post that as soon as I've photographed the work in the frame.
As I used to do in New Zealand, I'd trawl junk shops and opshops for old period frames to mount my paintings in. Often, I'd have to work on a specific sized surface that I'd have to cut especially for the frame rebate. It was a hassle if I didn't pull-off the painting as then I'd have to have another go at repainting the idea, trying to get it right for the frame. I recently also found an old photographic frame for an 8x10 Ambrotype or tintype, so I've painted a retablo of an old view camera to mount in it. I'll post that as soon as I've photographed the work in the frame.
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.
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