Dreams of the Night Sleeper

ihet – november/december 2018 – issue 236

 During one of my recent fits of organization, I pulled out several never completed canvasses. Originally these two were intended for exhibition at Perimeter Gallery, Chicago and for reasons that now escape me, their development was problematic, the paintings weren’t finished, and didn’t end up being shown. After, I put them aside and began a new group of work. Revisiting these artifacts of creative effort, their intent is reimagined, guided by the instruments of memory and experience. A dilemma resolved. A quiet and measured chronicle woven by the force of time.

      The pragmatic affair # 239                Desire’s mnemonic memoir #233

Transformation is the heart of it. It’s the gentle tug, becoming a push then a shove. A feeling of urgency driving the narrative forward.

Long press for sitter frozen #37

The  cartography of  my visual language is informed by the tangled and knotted rhythms of nature. An exploration into the fabric of remembrance. The evolution of change. The reordering of perception. 

Evolution circus #61

Then there’s the bits and pieces. In these instances harvested from my own manipulations. An orange tree remnant from the garden, on an image of trees in Superstition Mountains, (assembled from multiple inkjet prints), and photographed.

Memorial to a lifetime of achievement #173

Apple tree remnant, also from the garden, on an image of trees in Zion National Park, (assembled from multiple inkjet prints), and photographed.

Memorial to a lifetime of achievement #191

Thanks for reading.
Charles                            

Kurre Exhibition at the Eric Fischl Gallery

ihet – july/august 2018 – issue 234

The Eric Fischl Gallery is a great environment for exhibiting and viewing art.  For my exhibition, it’s all new work. Both paintings and objects, so it promises to be a good show.  The opening reception is on Monday evening, September 17th from 5:30-8pm. I’d love to have you join me, so save the date and come see the new work.

Clyfford Still is one of my all-time favorite painters and visiting the Clyfford Still Museum, in Denver, has been on my list. I’d tie myself in knots trying to choose a favorite, but this painting, 1944-N No. 1 would certainly be in the mix.  There’s a boundless volume of color in his paintings, but this black is just fearless.   “Black was never a color of death or terror for me. I think of it as warm – and generative.” Clyfford Still. – To view more of Still’s work – The Clyfford Still Museum 

“Abstraction allows [one] to see with his mind what he cannot see physically with his eyes . . . [it] enables the artist to perceive beyond the tangible, to extract the infinite out of the finite. . . . It is an exploration into unknown areas.” This quote by Arshile Gorkey was included with the exhibit and for me captures what all art attempts to achieve. Gorkey’s work bridged the gap between surrealism and abstract expressionism and is considered one of the seminal artists of his time.  For more on Arshile Gorkey visit – The Arshile Gorkey Foundation.

The show at Fischl Gallery has provided the impetus to give my website some much-needed attention.  So rather than just a bit of polish, I decided to do a complete overhaul. Take a look and let me know what you think . . . charleskurre.com

Besides the website revamps, I’ve been putting finishing touches on work for the exhibition. The most recent . . . A layered history of remembrance, a bridge between then an now. Tuning perception to desire’s needs. Deconstructed elementals assembling the kite.

And no, it wouldn’t be Summer without a bit of beach time . . .

Found on the street by my studio, drawn by one of the neighborhood kids. 

 

Thanks for reading.

Charles

Back to Black and Other Reflections

ihet – january  2018 – issue 231

Bang, bang, bang . . . twenty seventeen  . . .  it’s done and gone and I’m thinking a quick review is just the ticket.  So this is it . . . a year of paintings and an brief inside look at how the Monuments Series of sculptures came to be.

I like the idea of mixing it up, compare and contrast. The paintings are shown in pairs, partnered up by virtue of the same inexact science that helps drive my creative process. The first image is of a new painting The Sleepwalking Beast (#31), all other paintings are from this year’s posts.

The Monuments have dominated my recent creative output. Beginning as a pleasant byproduct of organizational efforts, they’ve assumed a life of their own. This second grouping of photographs show the early development of the work, from creative play to the first primitive vignette. The subsequent  photographs are reproductions of the background scenery taken from the finished work.  A note on my photographic efforts. I relentlessly document my world in pictures. Besides a simple record of time and energy, these images end up being source material for my work, including the original urban images for the monuments. The landscape image is taken from a paint by number from my collection and the list is from my notebooks. Theses images have been digitally manipulated for this work.

For a closer look at The Monuments click here.  For more on the paintings please go to ithappenseverytuesday.com  click on Archives. Here you’ll find a list of posts from the past years, select a month and year and enjoy.

Thanks for reading.

Charles