A pre-fired photo of my 'Devil on the Toilet' keepsake box. This image doesn't show the cistern attached, which is the keep sake box.
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
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