OPEN STUDIO ART TOUR 2013

OPEN STUDIO GALLERY VIEW

New Works 

Gateway No. 1         2013                 60"x60"x2"

Acrylic, ash, thread, canvas and canvas on canvas

Will You Remember Everything Everywhere         2013

       108"x50"x50"
Mixed Media Wall and Floor

Will You Remember Everything Everywhere           2013
(Detail)

Transparence      2012                42"x36"

Oil and thread on paper

First PlaceAward Winner  Summer Juried 2013

 Marin Museum of Contemporary Art

Gesture and Field no. 10     2013           7"x9"
 Oil and thread on papers

Witness       2013                    62"x48"x2"

Acrylic, oil, string,  ash, paper and canvas on canvas

As the Known Expires    2013       80"x68"x2"

Oil, acrylic, tarp, fabric, string, and canvas on wood and aluminum

Reflections in the Bridalveil   2013   158"x120"x24"
Wall: Oil bar, oil, acrylic, pastel and thread on canvas and wood
 Assemblage: Acrylic, sumi-e, marble dust, paper and canvas on wood
 with candles, water, stone fossils, loom parts, hardware and drawers

Photos courtesy of rrJones   All images and text copyright of Glenn Carter

NEW WORKS

LIVIATHAN

The piece below is the first finished in a series of vertical works.

This mixed media work suggests Herman Melville and his master work of Moby Dick.

Liviathan  2013  106"x40"x8"

Acrylic, sumi-i, shellac, bitumen, glass,  carcass hooks, 

 cold chisel, wire, hardware, papers, string and fabric 

on canvas on sheet aluminum

The Book

The Point

 The Hook

The Bones

PASSING THROUGH THE VEIL: THE STUDIO EXPERIENCE

THE REBUILDING OF A PIECE: FINDING THE WAY

Chamber Door 1996

This 1996 piece was deconstructed and re approached for the current exhibit at Monterey Peninsula College Art Gallery. The interest in the ground (background) led the way for a reinterpretation of the figure (focal point).

"Sketching"

A process of  "sketching"  in collage begins the dialogue of recreating the figure and a new narrative to the piece. Prior to this process a monolithic shape on the ground was recognized and further defined by glazing an atmospheric white along the left side.

                               

"Sketching"

A second iteration of narrative sketching, searching for the voice in the piece, does it speak to the artist in a visceral honest way, is it visually "taking off" into the depths of a deeper mystery? Not enough!

"Commitment"

A variation on the original sketch was the way, so the commitment to paint and glue down the parts proceeds. The work is finished or is it?  The question shall answer itself with time, this trust in the mystery is a necessary component in the process and relationship of the artist to the spirit of the work.

    "Happenstance"

This is where something comes along and a new dynamic becomes present. The piece was not, over time, feeling finished and languished in a half state of completion. As chance would have it the lower portion of another painting found its way to the side of the piece and provided the power that was lacking.

As the Known Expires  1996-2013
78"x62"x2.5"

"Reanimation"

That happenstance led to an entirely new technique in the painting process a letting loose of control and manipulation, a "fluid state of being" resulting in the right side ephemeral image (above), unifying and eventually finishing the piece.

Byproducts of Process: The Honest Work

These shots capture the process, the magic and mystery that inspires these works.

Sunlight across a floor painting with reflections from the wet surface of a floor canvas projecting on to the wall.

Dry white paint on the studio cement floor after the canvas of a floor painting was removed.

All photos and text property and copyright of Glenn Carter