David Klein Gallery always knows how to get down. Art Miami now and in late 2013 I have the pleasure of working with them. A solo show!
Booth C3
11/27/2012
07/20/2012
van·i·ty,
I have had a great honor by being featured in a ad campaign to promote the National Museum of Women in the Arts turning 25. I even had the rare pleasure of having this ad featured in the Delta Air in flight mag. N.M.W.A. allowed me to select a work. I chose a Victoria Sambunaris piece. In art speak I explained basically how inspiring her works are to me. Check her works out. Thanks Jenny for taking the pics.
07/07/2012
decay
"Immortal Decay" the upcoming show from Olivia Rodriguez at Curator's Office. The intimate size of Curator's Office should lend itself to her work because of the detailed nature of these hand-made sculptures. Olivia has a skill set that I have rarely seen in a DC, but she isn't totally a DC artist. She has lived in Boston and NYC for years before moving here. Her hyper real sensibilities and approach allows for us to see slime on the backs of slugs and the ashy, powdery dust of a drying mushroom. Nature's soft violence is showcased beautifully as she presses pause on Mother Nature. I noticed how the victims in her work are often willing and passive to their aggressors. We never see the attack. We arrived too late, but we witness the casual feast of the wasps sucking the sugar from chewed gum or the decay of a half eaten mushroom that a moth left behind. Her once healthy trees are broken at the base showing its jagged wooden core leaving us to wonder whats unknown force that snapped this rigid monster in half. The fragility and the weight in the legs of her little insects are excellent. The legs of the insects touch the surface in a such a minute way that it looks as if it might sprint for the seam in the wall.
Curator's Office is a perfect place for richly detailed show like this to take place. This is a show worth seeing just for the details and expert hand work.
Immortal Decay opens July 14th
06/30/2012
awkardness
This Diebenkorn quote says it all.
"I would never consciously trade awkwardness for elegance."
06/01/2012
05/23/2012
"Good For You"
"Good For You"
June 9 - July 14, 2012
Kristin Beaver, Ben Grasso, Alyssa Monks, Jessica Rohrer,Trevor Young
David Klein Gallery
This is a show for painting lovers.
03/16/2012
02/22/2012
David Klein gallery @ Armory
Some of my new works can be seen at The Armory show in March. You can find them @David Klein gallery.
01/08/2012
12/22/2011
Bristol Wip
Being selected to join a group show is always exciting but being selected by an artist/curator whose work you follow is hugely inspiring. So when Stephen Mallon wrote to tell me he was curating a show at the Bristol Biennial in England and wanted to include me, I hit the ceiling. I saw Stephen Mallon’s work about one year ago at Fountain art fair in Miami. An isolated mangled Airbus suspended above frozen waters of a river. The jet, illumined by the harsh, warm glow of mercury lights, left me inspired. It’s a haunting image. It turned out to be Sully Sullenberger's Airbus 320 that crashed into the Hudson, but all that didn’t matter to me. This was simply a bad ass photo.
Thanks to Ryan McDermott for the edits.
08/18/2011
Fried Cake
12"x12" oil and alkyd on panel, 2011
07/01/2011
Bryn Mawr College
It was a great honor to speak at Byn Mawr College. Supermodernity and fine art was the topic of the day. Thanks to Laz Lima and Homay King for making this happen.
Little Gray Studio
My newest studio
05/12/2011
04/19/2011
Short to Medium Length
"Short to Medium Length"
98"x70" oil on canvas 2011
04/14/2011
THRUST
"Thrust"
New painting by Trevor Young
On view @ Civilian Art Projects
April 22 – June 4, 2011
1019 7th Street NW, Second Floor
Washington, DC
Opening reception for the artist:
Friday, April 22, 7-9pm
03/15/2011
02/19/2011
Studio oh oh
My new place to escape from you. top secret location.
02/17/2011
Listen. Do you see that?
I am pleased to be included in Glenn Barr's group show "Lyric". The works are based on the idea of album art. I seleceted "Roadrunner" by the Modern Lovers.
"Music and its lyrics can always stimulate our emotions and it can have us contemplating a visional narrative. Lyrics have been known to be the fodder of some of the greatest works in the world. This exhibition will illustrate the artists personal transcription from a songs lyric to canvas"
March 19, 2011
@ 323 East Gallery - Detroit
02/03/2011
12/26/2010
11/29/2010
10/29/2010
unfinished
Painting is a matchless medium. The painter doesn't have an undo button or an option to save alternate versions. A work never has a true end point and each painting is the only copy. This builds charter in an artist. Often you are scarifying strong elements in the hopes of making stronger ones. You tamper with your best moments so they might be outdone. But adding a few more touches can dilute the power of the work, just as too few can appear unfinished.
Sometimes the best move is to walk away with intent to return. I have started a work and left it in my studio for more than a year, came back and resolved it. But all work can't reside in the studio, end points are arranged. Recently I saw a work I sold years ago and wished I had a palette loaded with paint. It needed a few touches.
Whenever I feel that I recall a story about Pierre Bonnard. He had his first major U.S. show at the Phillips Collection and the Phillips knew Bonnard was a notorious reworker. The Phillips' house was part of the museum, and the family hid Marjorie Phillips' painting supplies. The Phillips decided which paintings they planned to acquire and didn’t want Bonnard to alter them. While installing his show, Bonnard insisted on paint and brushes and was told there were none on the premises. Bonnard left for France after the show ended, and the Phillips sent him large photos of the acquired works for his records. Bonnard painted on the photos, explaining these are the changes I would have made, and mailed them back. He explained that the works would have greatly improved if you would have given me paints.
Bonnard
I reflect on the story often. I know these paintings well, they are some of my favorite works in the collection. But Bonnard's frustration is something I understand. I can see why he might think they are unfinished. They are some of the least muddy, freshest works and have major vitality. Perhaps his finest works at the time. And still, I wonder what changes Bonnard would have made to the paintings. I can’t imagine the works would have been much better than they are. But that is the artist's milieu, to heighten what another's eye would deem complete.
Thanks Emily Lyons for the edit
10/25/2010
SCOPE Miami
It is a great pleasure to be representing Civilian Art Projects at Scope this year during Art BASEL Miami.
Title-Hard Buttress,48"x32", oil on canvas
10/17/2010
studio visiter
I met Geoffery Aldridge two years ago when a group a friends came over to hang with me while I was house sitting. We sat and talked for a few hours and he asked many questions about my work and why I was a painter. I learned that he was a painter at one time but he gracefully moved towards video and object making in grad school. I have really come to value his opinion and feedback. He was very generous to give me a studio visit on Friday. I look forward to seeing his newest work. Check him out.
10/12/2010
10/06/2010
nightscaping
If you haven't seen the works Erick Jackson, now is your time. The show is closing soon. Erick
Jackson's work is inspiring. His use of mystery, personal
iconography is unique but more than that he is a intense man who has strong opinions. It should be heated. I am joining Maggie Micheal and Tom Bunnel on a panel to discuss and help decipher Erick's unusual work.
If you love painting you should inspect his work.
If you love painting you should inspect his work.
CIRCLE OF PAINTERS
Saturday, Oct. 9, 2010
4pm @ Civilian Art Projects,1019 7th Street NW, Second Floor
10/04/2010
new studio
,
A happy new space. I am not a fan of natural light but I am getting curtains to stop the sun.
09/29/2010
fleshy flesh
I love Non-places. I haven't wanted to paint much more that since I began
painting. Recently I was invited into a show curated by Jeffry Cudlin. The
painting for the show included a figure. It gave me the chance to paint flesh.
It made me wonder if I should paint flesh more often. The warm fleshy hues and
soft modulations got me thinking I was missing a pleasurable aspect to
painting. So this past week I had a
model sit for me. It gave me a chance to paint flesh. Oh gosh it was a challenge
but I loved it.
tolerate chaos
Since High School one list has always been on my studio wall. I knew Richard Diebenkorn’s works had lessons in them but his “Noted to Myself on Beginning a Painting” helps explain his working process but more than that it is a ground floor for any painter who wants to move his works forward. I try to apply one percent of his lesson to every painting.
Noted To Myself On Beginning A Painting
by Richard Diebenkorn
1. Attempt what is not certain. Certainty may or may not come later. It may then be a valuable delusion.
2. The pretty, initial position which falls short of completeness is not to be valued- except as a stimulus for further moves.
3. Do search. But in order to find other than what is searched for.
4. Use and respond to the initial fresh qualities but consider then absolutely expendable
5. Don't 'discover' a subject- of any kind.
6. Somehow, don't be bored- but if you must, use it in action. Use its destructive potential
7. Mistakes can't be erased but they move you from your present position
8. Keep thinking of Pollyanna
9. Tolerate chaos
10. Be careful only in a perverse way.
