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Exhibitions

I’ll be installing some work at the DCAC 1460 WALLMOUNTABLES 2010 show this week.

The DCAC’s Annual Open Exhibit!

The Show runs from July 23 – August 29, come on out to the Opening Reception: July 23, 7-9pm. There will be up to 350 pieces in one show from many artists! To learn more or get directions visit  the DCAC.

I can pick up to 4 pieces to submit all under 2′ x 2’……… where to begin?!

See you there!

Evaporation, Rust on Steel, VC

This piece is about to get some new brothers, two rust and encaustic pieces and a new woodcut should be getting churned out of the studio this week. Will they make it in time for the Wednesday install?

Grizzly Grizzly 319 North 11th Street, 2nd Floor, Philadelphia

Grizzly Grizzly is a collaborative effort of five VCU BFA 2005 graduates; Mike Ellyson, Steven Little, Dennis Matthews, Bruce Wilhelm and myself. We started the gallery December  and have since already shown 4 emerging artists and Feb 5th we’ll be hosting two more. The space is a chance for the 5 of us to create a different kind of gallery experience in Philadelphia, where the only concern is to show exceptional emerging artists. For these first three shows we sought artists who have unique approaches to the art making process and brainstormed how to curate them into 2 man shows. The gallery layout places the two artists in close quarters and the experience we are hoping to relate is one where each artist’s work really converses with the other. Artists selected to show are encouraged to give input on the curatorial process. Future shows will include solo exhibitions, installations, various performances, and group shows. For more information on Grizzly Grizzly or for a preview of our next show check out Grizzly Grizzly. If you like what you see subscribe to our blog or fan us on “The Facebook“.

Grizzly Grizzly welcomes Robert Scobey & Yevgeniya S. Baras for our third show. Come out to the opening on February 5th at 6:30.

robertscobey.com

yevgeniyabaras.com

-Vincent Colvin

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We just won the People’s Choice Award at the Kensington Sculpture Derby with this Amish/Harry Potter inspired beast carriage! The bike has functionality for four riders and one puppeteer. It can carry 7 or so folks when utilizing the “trunk”. The piece is made from over 7 re-cycled bicycle frames, 4 of which were used to create two side by side tandem bicycles with linked steering. The puppeteer, seated in the center controls the legs and wings of the horse by pedaling from their seat and pulling wires just like a marionettes.  We have recently shown it at Moore College of Art and Design Philadelphia. To see a video of the kinetic sculpture in action click on this link. The project was a collaboration between artists Colleen Rudolf, Humankind Design and myself.

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I had a piece juried into the Allentown Museum’s Open Call for Artists. It was a real treat to turn the corner in the museum and see my piece through a room of respectable Impressionist paintings. The piece titled “Evaporation” is 18.5″ sawn disc of raw steel. I cut a series of these discs and then spent about a month experimenting with different formations of rust on their surfaces. Through the process I learned how to make different tones, patterns, and colors of rust through the oxidation process. When the rust reached a point where I had something worth hanging on the wall and looking at I stopped the oxidation. Using two opposing materials, steel and water, the discs become maps to how the evaporation and oxidation processes evolved.

When at the opening in Allentown, I walked past two observers who were debating about whether or not “Evaporation” was a piece of art. One was for it, one against. This was a great thing to covertly witness as the creator. I was delighted to be reminded that not all observers rely on museum curator’s to tell them what art is. It also made me realize, that maybe this piece was more about the art viewing process then the art making process. My mark making process consisted of pouring water on the metal surface, leaving wet rags of different textures until they dried up, and sandwiching water between the discs and the cement floor of my studio. My medium was timing. The making process was more about the decision to stop or rebegin a process which I had limited control over. So as much as I had my hand in facilitating the oxidation, I was going through the same process as these observers in my own studio. This isn’t something new for artists. We have all stood in our studio’s looking at our hard work wondering the same things. Is this art?