I recently sent off a piece to Grizzly Grizzly in Philadelphia as a part of their founding members show. A group of art friends and I started Grizzly Grizzly a number of years ago to showcase compelling artists from around the world. We decided to keep ourselves removed from showing our own work so that we could focus on the curatorial process and remove our egos from the common vanity gallery collective.
We wanted to do something unconventional and unlike other art venues in the Philadelphia area. It was a real push for me to celebrate artists so different from my own work. I think that was the most rewarding experience. We gathered a diverse group of members to push ourselves in unique directions that a typical gallery would not. It was a way for us to view the art we wanted to see and champion.
I left the collective back in 2010 when I moved to Austin, TX. I miss putting on shows with Grizzly Grizzly, we had a great time and it was a fulfilling experience. Its makes me so happy to see the space thriving. Thanks to the current members for inviting us to show and for all of their hard work continuing to grow what we began!
Read the show’s review by Knight Arts, and of my piece. “Galbraith”: http://www.knightarts.org/community/philadelphia/to-all-the-girls-ive-loved-before-grizzly-grizzly
Sketch From Alaska
I had a wonderful weekend sharing my new work with many insightful and enthusiastic visitors. I was really taken by the range of responses to the work and the ideas they generated. I am already looking forward to next weekends East Austin Studio Tours! One highlight of the day was when a 2 year old, “Pepper”, decided she liked one of my landscapes, which apparently was the first artwork she had ever verbally responded to. Though she couldn’t tell me why she liked it, she did recognize many of the colors. The moment happily reminded me, “Who do you make art for?”.
Thanks everyone who came out!
Come out and see my new work at the East Austin Studio Tours! I have new paintings on view at my new downtown studio. I will also have many prints (framed and unframed) for sale. I recently opened a studio downtown on the East side at UP Collective, 2326 E. Cesar Chavez. The space has over 21 artists exhibiting for the studio tour so it should be a definite stop on your schedule.
My new work is available for purchase and exhibition, commissions are also welcome. If you have an idea that you would like to discuss I would love to talk about it with you. I have enough 2013 work for a solo show and am seeking a Texas Gallery to show with in early 2014. I will have artwork in a wide range of sizes and prices, so it will be a great time to get some new pieces as gifts for the holidays or for your home!
Sneak Peek | Some new work coming out of my studio, encaustic with huge charcoal drawing transfers.
I will be at my studio all four days of E.A.S.T. and am looking forward to meeting lots of new people and discussing art! Dates/Times: Nov. 16th -17th and Nov. 23rd – 24th from 11am to 6pm
If you head out to see DUE E.A.S.T., the studio tours group show, be sure to keep an eye out for my piece there, “Wiseman”.
I am also instructing some new classes coming up in 2014 and a Drawing Better and Faster course starting this Nov. 21st at the Contemporary Austin. Click here to sign up.
It was great afternoon to share encaustic with Museum Day guests at Laguna Gloria. The grounds were particularly beautiful on this sunny cool day, a welcome change to our Texas summer. Musicians were spaced throughout the grounds simultaneously playing “Inuksuit”, a composure of drums and other percussion instruments. I could hear them as I explained the properties of encaustic medium and built up a landscape painting to demonstrate the layering process of encaustic painting to curious passersby.
Encaustic Demo with Vincent Colvin
“He’s Heating Up”
Liam Gillick’s new sculpture opened this weekend at Laguna Gloria and it cast a fantastic shadow as the sun slowly began to set, highlighting through its colored slats the passage of the day. The sculpture is a simple structure that emphasizes the viewers spacial point of view and sense of time. On Friday I enjoyed the Member’s Cocktail Reception at the Jones Center. There Gillick has a video on view inspired by Texas and the Laguna Gloria grounds. The film is its own piece. but also reminded me of a sketchbook of ideas related to the new sculpture and its surroundings. The scenes distort the viewer through familiar shots that have slightly altered sensations of sight and sound.
Marianne Vitale’s new sculpture at the Jones Center stands as two intersecting covered bridges built of raw burned wood, scaled down in size and assembled in the interior space. My first reaction was to the powerful display of positive and negative space. The long view through the bridge invites the viewer to look through the bridge forms and make connections to the viewers on the opposing sides. The burned bridge looks unusable. There is a curious connection as both viewers are forced to contemplate the same questions, but are separated by the burning and are unable to meet at that moment.
I found the Jones Center’s showing of only two pieces in their entire gallery space extremely refreshing and bold. The pairing of works allows you to focus in and invites you to see the art. This created a sense of calm and focus, the show is free of distractions showing only the essential.
I was unable to get into the gallery at Laguna Gloria were the space has been transformed by Erin Curtis’s work Further West. Through the windows I can see the show is not to be missed, I will be back to view it.
Tagia, Detail, Oil Glazes on Steel, 24″ x 32″, 2013
I am busy preparing for my solo show, Simultaneous Passage, at the Southwest School of Art in July. The exhibition will be on view from July 18th to August 23rd. I had posted some earlier stages of this piece, “Tagia” about 3 posts back. It is built up of many layers of rust, oil and glaze mediums that are brushed on, applied by hand, wiped, scraped, sanded, smeared and gouged. The show will consist of a variety of paintings drawings and prints.
Blending scapes of land and sea, Simultaneous Passage, also blurs the lines of process, media, and viewing. The imagery triggers a memory or creates responses to birth a new one. The stories told depict a interpretation of the past. These individual moments take place within our collective memory, whether you are an observer or a creator, making us all somehow participants of the story. Art allows the viewer to become creator using their mind as an extension of the piece viewed. The events live in multiple time frames as they transition their own lifespan of creation, experience and subsequently, memory.
Sensing (Scopelogados beani), Encaustic on Steel, 18.5" disc, $650, 2010
This piece will be on view at Atelier6000, in Bend, Oregon from March 1st to the 31st. The exhibition “The Stolen Image” is based around artists that use a transfer techniques in their work. This piece is an encaustic monoprint on steel of one of my recent drawings. If your going to Oregon stop in and check it out!
Medias, Encaustic on Wood, 55″ x 6″, $1400, 2010
The Suffolk Art Center in Suffolk, VA is putting on a show titled Abstracts: Borrowed from Reality with the help from curators Pam Rogers and Trudi Van Dyke. The show will feature a number of artists who recently exhibited at the DC Art Center aswell as 6 of my own works, including the piece above Medias. The show will open on March 9th and run to April 15th.
More good news: my piece Chauliodus sloani was recently purchased at the Torpedo Factory Art Centers Patron Show Auction. My work was on donation and all proceeds go to benefit the Torpedo Factory Art Center in my home town Alexandria, VA! Thanks to those that purchased works and for supporting the arts!
My newest painting just took a first place award at Atelier6000’s Feb. show Survey: Charts, Maps, Ledgers, Navigation.
My new series is about the final voyage of the whaleship Essex and its demise by ramming of an angry sperm whale leading to a harrowing 89 day, 2500 mile drift by whaleboat. Accounts from the few survivors have inspired sections of the whale attack in Melville’s, Moby Dick, and cannibalism in Edgar Allen Poe’s Narrative of Author Gordon Pym.
To me the voyage and tragedy represent a different era of American history. One that is built primarily on the quest for whale oil. Aside from the obvious romanticism of man at sea and the hardships thereof, the dubious task of taking down so large a mammal by hand relates humankinds ability to willingly enter into stupendous circumstances and risk everything. Harpooning a whale could take the better part of the day, with the whole whaleboat team rowing for miles upon miles to kill the whale and then haul it back to the boat for processing. That of course is if the whale didn’t rend their boat to splinters and send them all awash with a flick of its tail. Whaling was a primal enterprise and truly, few lines of work were as dangerous or as grizzly. These whale crews were also explorers, escaped convicts and slaves, outcasts, and men searching for themselves at sea. Their trade put them not only at risk of the elements, but presented enormous strain on their bodies, psyche, and thus their futures.
My series is not about glorifying the hunt or the killing of these whales, but it is about the idea of setting yourself adrift and truly pursuing something. I am interested in thinking about what these people experienced not in the eye of the whale or moment of the hunt, but in the world and sea around them as they drift the vast oceans and brave the unknown and volatile environment so far from the comforts of land. The pieces focus on place, in fact specific points on the map, and distinct moments as I see them through the eyes of those who may have traveled before me. They are not based on photographs and internet queries, but narratives and course plotting’s of travels past and of ideas of an invented ocean that perhaps my history as a human knows better than my own eyes.
This series is still being built and the ideas around the pieces must to have room to grow and evolve, but for now this is the path I have laid out to navigate.
These two pieces are going to be shown in a juried exhibition in Bend, Oregon at Atelier 6000, through the month of February! Their show Survey Charts, Maps, Ledgers, Navigation, is a great fit for my new series of paintings following the last voyage of the Whale Ship Essex.
These are two recent absract seascapes. They are currently on view at the DCAC in Adams Morgan, DC until October 10th for their “Elements: State of Matter Show”.
Medias - 2010 - 55" x 6" Encaustic on Manipulated Found Wood
Forgotten - 26" x 8" - 2010 - Encaustic on Found Wood
Here is what Pam Rogers, the gallery’s curator had to say about my work at the show:
“Vincent has taken the encaustic process to a new place with his abstracted panels. Vincent explores his interest in the “spaces that are tangible here below our own horizon.” This desire is often expressed in imagery suggestive of the ocean and its allure. It is the unknown aspect that makes Vincent’s work so compelling; the shapes and colors with soft welcoming edges suggest something to the viewer that cannot quite be immediately identified. The smaller more intimate pieces embrace the concept of mystery and the unknown. Vincent has enveloped these sumptuous little encaustic works in velvety delicate layers to convey water. Yet we know there is something just below the surface. His subtle play with color, creates strong powerful shapes that bridge the realm between two and three dimensional work. While the wax medium that Vincent manipulates is seductive in its own right, it is clearly just a vehicle that he uses to invite the viewer into his personal aquatic works.” – Pam Rogers, Artist and Curator
Bonus!!!! Cool link : China Deep Sea Tour
Elements: The State of Matter
September 10-October 10
Opening Reception: September 10, 7-9 pm
Artists Talk: October 10, 5pm
Curated by Pam Rogers Mentor Curator: Trudi Van Dyke
This exhibition presents the work of 6 contemporary artists in a variety of media exploring the elements with abstract presentations. Artist included in this exhibition are Jessica Beels, Graham Boyle, Katie Cassidy, Vincent Colvin
, Suzanne Izzo, and Stu Searles. This is the concluding exhibition for the 2010 DCAC Curatorial Initiative, where the DC Arts Center
pairs an experienced curator with someone who has a strong interest in curating.
Header Image – “Forgotten” – Detail – 2010 – Will be at the DCAC show Sept. 10th – Oct. 10th along with other new pieces!