August 12, 2013, 9:30am
Northern California-based artist Eric TiIlinghast has been working with water for almost two decades. His diverse oeuvre includes ambitious large-scale installations, sculpture, site-specific works, public art commissions and paintings. In his exhibition Water/Nymph, currently on view at Richard Levy Gallery in Albuquerque, Tillinghast offers up 41 re-contextualized vintage postcards. In these works, he identifies the water feature and meticulously paints over the surrounding environments, leaving only the essential shape of the water and the occasional figures. In many cases, his obsessive process requires the application of 50 of more layers of paint to seamlessly blend and cover up the background image, leaving the surface impossibly smooth and almost devoid of the artist’s hand. As Tillinghast explores bodies of water in all forms - swimming pools, lakes, waterfalls, dams, watersheds and tidal flows, what emerges is a meditation of form in both a natural and domestic context. The results of this aesthetic experience offer a sublime contemplation of our perceptions of Earth’s most abundant resource. I recently had the opportunity to ask Tillinghast some questions about his process. -Claude Smith, Albuquerque/Santa Fe Contributor
Eric Tillinghast |Clytie, 2013, acrylic on postcard, 3.5 x 5.5 inches; Image courtesy of Richard Levy Gallery
August 07, 2013, 9:00am
Is the myth of paradise all that compelling? The resort paradise, the motel bliss, dreams of tropical shores and youthful ocean air – are these the same dated visions of vacationing we still cling to, or has anything supplanted their modern aspirations? Do we really delight in a shallow image of shared retreat locations, or long to buy our piece of time from out of a brochure or agency – just another one of many touristic occupants? The theme of the temporary vacation and all its shortcomings has garnered quite a lot of attention by contemporary artists over the past few years. An exhibition by this very namesake, Timeshares, currently on view at LVL3, pictures three artists preoccupations with the idealism the term represents – if not the effects that summer tends to have on more “relaxed” thematic group shows, as well. Paintings and objects by Josh Reames (NAP #89, #95), Calvin Ross Carl, and Maria Walker prod at this artificial fabrication of time as it relates to art and practice; while some pieces directly picture seascapes, palm trees, and other brochure-ready visual ephemera, others take the spirit of vacation as a material cue – works that deal with pattern, perhaps belonging to a swimsuit, a lawn chair, or mosaic brickwork, and detritus wrapped in colored fabrics, the idea of something less refined simply wrapped into a higher context, masking themselves as paintings. – Stephanie Cristello, Chicago Contributor
Calvin Ross Carl and Josh Reames, “Mañana,” 2013. Sand, 136” x 54”
August 06, 2013, 8:30am
One person's trash is another person's treasure. That message resounds in Jason Webb's acrylic paintings, on view as Bulk Collection, his solo debut at Austin's grayDUCK Gallery. Rooting through these photorealistic accumulations of...stuff...we discern degrees of worth, on what is kept and what is left behind. — Brian Fee, Austin contributor
Jason Webb | Discard Pile 22, 2013, acrylic on illustration board, 10 x 8 inches. Image courtesy grayDUCK Gallery, Austin.
July 29, 2013, 8:30am
There is something deceivingly friendly about Michael Ottersen’s paintings. The Seattle artist’s dense canvases pop with solid, inviting hues. As pointed out by Robert Yoder, artist and owner of SEASON, where Ottersen’s show The (Mentholated) Roads Around Naples is on view, most of the canvas-spanning forms can be contorted into geometric faces. But then, there are the titles, which counter the initial straightforwardness with an esoteric sense of humor that reads as equal parts inside joke and non sequitur wordplays—Stinky Pinky/Wigwamery and Mary Krishna stand out among the more confounding. This tug of war happens within each of the works, sucking you in at the first encounter and remaining stuck in your head long after. – Erin Langner, Seattle Contributor
Michael Ottersen, Mary Krishna, 2012, oil and acrylic on canvas, 64 x 48 in. Image courtesy of SEASON.
July 26, 2013, 8:30am
Guy Yanai’s solo exhibition, Lived & Laughed & Loved & Left at La Montagne gallery is a show of paintings corresponding to recent photographic technologies in mobile devices. Looking through his iPhone, Yanai is always taking notes of things he sees in the world around him by making pictures. With this information he begins to build his paintings. - Anthony Palocci Jr., Boston Contributor
Drive In, 2013 oil on linen 40 x 40cm photo courtesy of La Montagne Gallery