My stone lithography paper doll, Shroud I, will be exhibited in the Vox Populi Print Collective's inaugural show, RESPONSE, at ArtHelix Gallery in Brooklyn, NY from November 10-26, 2017.
RESPONSE gathers over 60 printmakers and their reaction to the new global political, sociological, and environmental realities of our time. There will be a catalogue of all the works available for purchase at the show.
In beginning this piece, I began referencing current conflict zones and human casualties of war. I was both moved and inspired by the frequent images of children before burial, their bodies wrapped in shrouds of white. The child in my drawing is of my own design, as I didn't want to reference one specific victim.
Recently I joined Vox Populi Print Collective, a printmaking guild co-founded by Barry Roal Carlsen and Peter Hopkins. The group seeks to elevate, celebrate, and promote fine art printmaking in the US and abroad.
I'm looking forward to creating more stone lithography prints and showing along side of other printmakers. I'm told the group is already over 100 strong and growing.
I will be exhibiting five sculptures at Abel Contemporary Gallery, in Belleville, WI, as part of their Exquisite show, running from July 28-September 10, 2017. The sculptures are all pieces I have not exhibited at the gallery before. The show will also be the debut of my paper doll piece, The Anatomy Lesson.
From the Abel Contemporary Gallery announcement:
"Unabashedly beautiful, the objects in this exhibit showcase the work of artists who have refined their craft to a degree that can only be described as exquisite."
Other participating artists : Wilde, Schulte, Schoonover, Czechowski, Calderwood, S. Byers, Apgar, Abel.
I will be attending the opening reception on Friday, July 28th, 5-9 pm, and hope to see you there.
It's hard for me to express what a strange honor it is for me to be working on the writings and jacket design for William's second posthumous release, Stoneburner. Long before I became involved with the archive project, I was a fan. I would read William's books and imagine what I would do for the covers. His writing spoke to some of my imagery and I felt a commonality. And so the years pass and an unlikely fate intervenes.
My original proposal for the Stoneburner cover was to do it entirely of my own design. JM White, William's friend, publisher, and director of the archive pushed for inclusion of one of William's paintings. He explained that William always wanted his paintings on the covers of his books, and it bothered William when the larger publishers didn't use them. During his lifetime, only two books had his paintings on the covers, Wittgenstein's Lolita and Time Done Been Won't Be No More, both published by JM White and Wild Dog Press.
I looked over many of William's paintings and selected a snowy farm house scene. There is a location in the novel where this is fitting, and I liked the painting's somber tone. The symmetrical composition of the painting naturally lent itself to both front and back covers. I made an effort not to manipulate any of the image, and to cover as little of it as possible and still have it work in a larger design.
In adding the ink brushstrokes and drips, I was thinking about the growing unraveling for the characters in the novel, the sense that things are falling apart and becoming uncontrolled. At some point during the design of this book, I began to realize the cover was an unexpected collaboration with one of my favorite authors. I can only hope William approves.
The inception of Anomolaic Press began in early 2014, when I was helping a group of William Gay's friends and admirers prepare what was to be the first manuscript of posthumous writings, This Ride's Not Over Yet. Our original intention was that we would publish the book ourselves under the imprint Anomolaic Press. During this time I created the two-headed whippoorwill image and Anomolaic Press logo. The manuscript was shelved when Dzanc Books voiced interest in purchasing the rights to Little Sister Death and The Lost Country.
The manuscript of Stoneburner has been completed for some time, but it was necessary to explore all the publishing options with different presses. In the end, we decided to release the book ourselves, and resurrect Anomolaic Press. In doing so, it will ensure several points: we have absolute editorial control, the book looks and is printed they way we think William would want, and most importantly, control over all profits so that they may go to William Gay's family.
The word anomolaic was a favorite of William's, and appears in several of his writings. We thought it an appropriate name for our press, as well as a tribute to the man himself.
A short video about my studio and artworks produced for the Fabrication show at the Freeport Art Museum, May 12-July 8, 2017.
May 12 - July 8, 2017
Opening Reception: Friday, May 12th 5-7 pm
I'm very excited to be included in Fabrication at the Freeport Art Museum, opening May 12, 2017. I will be one of 3 artists participating in this large exhibit. The museum has chosen to show 19 of my sculptural works, ranging from 1997 to 2017- a twenty year representation of my sculptures. This will be the largest exhibition of my sculpture work to date, ranging from the early paper doll shadowbox pieces of the late 1990's to my most recent bronze, Beneath the Remnant Veil.
At the show, some of the labels next to my work will have QR codes that will link the viewer to short audio files of me talking about a specific piece. If you don't have one already, please download a QR code reader app on your phone, then scan away, and have a listen.
From the FAM website:
The artists whose work is featured in Fabrication each use an array of objects to assemble and fabricate imagined and unexpected scenes. Initially, the combination of elements might appear contradictory or even illogical, which challenges the viewer to make sense of the unfamiliar by placing themselves within the scenes. The results are surreal-like compositions that pull at the viewers unconscious.
I'm excited to announce that two of my automata have been chosen for Bedford Gallery's Sweet n Low: An International Juried Show of Cute. Many thanks to Jurors Evan Pricco, editor of Juxtapoz Magazine, and artists Susannah Kelly & Neil Perry of Antler Gallery, Portland OR, for selecting me.
The two pieces selected are A Wounded Child and The Four Humors.
This will be the very first time I will have shown my sculptural work outside of the Midwest, and I am thrilled. I will be present at the opening reception to demonstrate my automata and look forward to meeting the other artists and attendees.
From the Bedford Gallery Website: The artists selected for Sweet n Low will extend the genre of cute from cuddly and precious to creepy and ironic. From kitsch and Margaret Keane’s Big Eyes, to Japanese anime and the contemporary Pop Art work of Takashi Murakami, we’re looking to unleash the roly-poly, goofily-gamboling, saccharine-honeyed creatures on this earth and beyond!
The opening reception is June 22, 2017 from 6-8 pm.
The show will run from June 22 to September 3, 2017.
Lesher Center for the Arts
1601 Civic Drive
Walnut Creek, CA 94596
Figure Twenty One.- The Anatomy Lesson.
2001-2017. 11”h x 33.25”w x 2.75”d.
Lithography, Acrylic, Mahogany, Bronze, Fabric, Glass.
Drafted in 2001, this sequence of paper dolls were drawn on a lithography stone at the University of Wisconsin and printed with the help of Lithography Professor and printmaking master, Jack Damer. Some may recognize the dolls from my design of Oneiroid Psychosis' 2001 release, DREAMS (with pollutions when virile).
The Four Humors.
2016-2017. 8.75”h x 7.5”w x 4”d.
Lithography, Acrylic, Mahogany, Brass, Bronze, Linen, Self-fabricated mechanisms, Hardware.
My third automata, The Four Humors, is now finished. As the brass crank is rotated at the bottom of the shadowbox, a self-fabricated Geneva drive is engaged, rotating the paper doll's dresses with intermittent motion.
The four humors is an ancient medical theory in which all diseases, disabilities, emotions and behaviors are due to an excess or lack of bodily fluids: blood, phlegm, black bile, and yellow bile. The fluids also have organs that relate to the fluids: blood=liver, phlegm=brain and lungs, black bile=gallbladder, and yellow bile=spleen.
I have been an admirer of Hi-Fructose for some time, and it is a great honor to be chosen by the magazine's editors to be featured in their Emerging Artist Showcase special insert for the Volume 42 edition. Hi-Fructose partnered with Ello to give artists such as myself this amazing opportunity. Showing on Ello's site has been fun and I have discovered many fine artists there.
Please look into purchasing an edition of Hi-Fructose Vol. 42 as it features the exquisite cover artist Tara McPherson, with Philip Jackson, Andrew Schoultz, Moon Chanpil, Monica Piloni, Matthew Grabelsky, Christian Rex Van Minnen, Mike Leavitt, and Alex Pardee. It is available at bookstores like Barnes and Noble, as well as online.
As part of Skin Graft Records UNFIT Apparel, pre-orders are now being taken for the new Dazzling Killmen T-Shirt, Crow Head, shipping January 15th. I designed and illustrated the shirt back in 2013, and am excited to finally see it go to print. The mighty Skin Graft Records logo is on the back. The shirt may be ordered through Skin Graft Records or through the Dark Slide. Thanks to Mark Fischer and Skin Graft Records.
I am excited to announce that I will be exhibiting nineteen sculptures at the Freeport Art Museum as part of a large three person show. Entitled Fabrication, it will also feature photographer Les Allen and assemblagist Rosalie Koldan. The show will run from May 12 to July, 2017, with an opening reception May, 12th from 5-7pm.
This will be the largest exhibition of my sculptural work to date, ranging from the early paper doll shadowbox pieces of the late 1990's to my most recent bronze, Beneath the Remnant Veil. I am truly grateful to the Freeport Art Museum for this opportunity and all the support they have given me.
From FAM's website: "The artists in Fabrication assemble an array of objects fabricating imagined and unexpected scenes. Initially, the works’ combination of elements might appear contradictory or even illogical which challenges the viewer to make sense of the unfamiliar by placing themselves within the scenes. The results are surreal-like compositions that pull at the viewers unconscious."
Very special thanks to Collections and Exhibitions Manager Carrie Baxter, Executive Director Jessica Modica, and Director of Education Barry Treu.
Figure Nineteen.- Beneath the Remnant Veil.
2009-2016. 4'h x 32”w x 5.5”d.
Bronze, Wood, Resin, Acrylic, Gold leaf, Silk, Hardware.
Now that it's finished, it's hard to believe this sculpture was started nine years ago. From the onset, this work was to be a blend of reliquary and anatomical display, but it went through many changes over the years. Design elements of the frame were referenced from Gothic sources, with everything sculpted and fabricated in my studio. The central figure is bronze, and is to evoke the wax anatomical models of the past. Where those displays were dissected and clean, the human object here is bulbous and nearly unrecognizable, yet it was my intention to make it elegant still. This figure, and the objects tucked within it, are remnants of something once alive and vital: earth, land, and sea.
Little Sister Death, the first William Gay book to be published posthumously, is now out in paperback from Dzanc Books. This is one of the William Gay manuscripts that I helped edit, and I'm pleased to see it continue to be published and find new readers.
David Binder is a young, successful writer living in Chicago and suffering from writer’s block. He stares at the blank page, and the blank page stares back — until inspiration strikes in the form of a ghost story that captivated him as a child. With his pregnant wife and young daughter in tow, he sets out to explore the myth of Virginia Beale, Faery Queen of the Haunted Dell. But as his investigation takes him deeper and deeper into the legacy of blood and violence that casts its shadow over the old Beale farm, Binder finds himself obsessed with a force that’s as wicked as it is seductive.
A stirring literary rendition of Tennessee’s famed Curse of the Bell Witch, Little Sister Death skillfully toes the line between Southern Gothic and horror, and further cements William Gay’s legacy as not only one of the South’s finest writers, but among the best that American literature has to offer.
I am excited to announce that I will be featured with 15 other artists in a special insert section in the January 2017 print issue Hi-Fructose, a contemporary art magazine with international distribution. Along with being published, they were also kind enough to give me a $1000 artist grant.
The artists were selected from submissions through Ello, the Creators Network, and were curated by Hi-Fructose Founders & Editors in Chief Daniel “Attaboy” Seifert & Annie Owens-Seifert.
Please view all of the selected artists HERE.
Thank you so much to Hi-Fructose, Ello, Attaboy and Annie, and all the artists who reached out to me during the selection process.
I will have a new paper doll automata called The Four Humors in the Small Works show, opening this Friday, November 4th, at Artisan Gallery. The reception is from 5-9 and the show runs until December 31, 2013.
From the gallery website:
The front gallery will feature a show of wide ranging art created by gallery artists working in all media. This annual show has become one of our most popular as an opportunity to acquire work on a smaller scale by some of the gallery's most popular artists.
I made this piece intensely, and was neglectful in taking many process photos, but below is a photo of the testing of the hand-fabricated Geneva mechanism that works the piece. More photos on the making of the mechanism can be found HERE.