Somehow, I neglected to announce a few bits of news from this
past year. I must have been distracted by... Oh yes. Everyone's 'that's
why' excuse for the past eighteen months, for better or worse. Lord knows I took my lumps too, but thankfully, I think these two art brags fall squarely in the "better" category? OR at the very least, new.
"Because of the pandemic" #2.
In another twist of temporary insanity, at the same time I submitted an old painting I did back in 2015 to a gallery seeking work on the topic of "Paradoxical Paradigms." I called the painting Rembrandt's Bathsheba: The Hellscape Abloom and... it made it in! To an actual, honest-to-goodness ART SHOW!! Entirely, in my opinion, by mistake.
Nonetheless, the painting hung at the The Huntington Arts Council for a number of weeks, they threw all us artists a virtual reception (you can still view the body of work here), and the whole thing was both a total hoot and a real, true honor.
WHO EVEN AM I RIGHT NOW, YOU GUYS?!
I know, I know, I usually fancy myself a writer. But that little surge of inspiration last year was a much-needed boost during a particularly demoralizing pandemic. So it just goes to show ya—submit submit submit! You never know who's crazy enough to call you an artist!
Rembrandt's Bathsheba: The Hellscape Abloom (2015)
Artist Statement: On one of my solitary hikes through the trails of eastern Long Island, I found the haunting, textured, and gnarled mess of the woods too striking not to capture — if only with a newcomer's eye and a smartphone camera.
Yet with these rudimentary tools, art still finds a way. In this series, I aim to reveal how the arboreal can look downright aboral as the broken limbs, fallen trees, and knotted vines of the bare winter forest map unto our bodies' own tangled physiology — hair, veins, arteries, posture, caress — manifested in simple plays of light, color, and texture.