Eight weeks – Done and Undone, again

Jumping over the stop and go house#29 – Tuesday October 4th

Only eight more weeks until the opening of the exhibition at Perimeter Gallery and I’m still working on several canvasses that I hope might be completed in time to be included. However this week I’m shipping the canvasses that are  finished to the gallery. Once in Chicago, they’ll be photographed, sent off to the framer, and returned to Perimeter to be installed for the opening of the exhibition on November 18th.

So first off, two of the canvasses in progress. There have been a few little adjustments in the painting highlighted last week, plus a canvass that’s receiving the benefits of cooler mornings . . . dark and rich, less bright white . . . and . . . yes, the southwestern light is a force to be reckoned with . . . blasting colors into a lovely subtle nuance of their hue.

Last week I featured a figurative painting from my first exhibition at the gallery in 1985. The 2011 exhibition will be the tenth show of my work at Perimeter and so this week I’ll highlight paintings from a small summer show in the late 80’s and the second solo exhibition of my work at Perimeter in 1992.

I became less interested in the figure as subject, and increasingly infatuated with the environment in which the figure functioned. These small canvasses focused on the influence one’s surroundings exert on the individual . . . an intellectual / emotional construct illustrated through the interaction between color and geometric form. ( A version of this painting is incorporated within the canvas “In A Green Room” ).   Exploring this dichotomy grew into the work that comprised the 1992 exhibition. I segmented the canvas into two portions. First, a tangled web of lines, dancing on blocks of color. The second, sharp exact geometric volumes, dark and brooding , exploding from their confinement. The spacial divisions of these paintings were derived from the earlier figurative canvasses, and the large volumes are an expansion of the forms used in the still life paintings.  This was also the time when my interest in how language influences the visual experience started to effect how I titled my paintings, combining words that captured the experience or spirit of a specific creative act rather than an explanation of what a painting might be. This is one of my favorite paintings from the 1992  Perimeter Gallery exhibition.

By the way, I’m now on Facebook.

Thanks for reading.

Charles

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