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"Twined and Piled Wool," 2023, 66" x 66", acrylic, oilstick, tailor's tape measures, tape, spraypaint, and Sharpie on an archival canvas print of Christopher Wool's, "Buy the Painting, Hold the Painting, Sell the Painting." This is one of a series of paintings in which I'm dialoguing with the visual strategies of the artist, Christopher Wool (b. 1955) by working in white and black and using large-scale archival prints of his paintings as a ground to paint on. In this case, I had an artprint house make a large-scale lookalike of his 1994, "Buy the Painting Hold the Painting Sell the Painting” and worked it with various types of tape, stencils, white and black oil sticks, Sharpies, tailor's tape-measures, spray paints, and acrylics for several months. I committed to using only two tones—black and white—and only two acrylic paints—Mars Black and Titanium White. I employed a few washes but steered clear of blending the surface paints as much as possible. I did my darndest to avoid any grays or tonal scale whatsoever. The result is something like a typewritten page. It copies the stark tone scale Wool often worked in. The plant-like overpainting is inspired by the artist, too. Though he never combined such designs with word works, many of his pre-2001 images deploy silkscreens of biological subjects in stark pop styles.
Mixed Media:Acrylic on Plastic
Original:One-of-a-kind Artwork
Size:66 W x 66 H x 2 D in
Frame:Not Framed
Ready to Hang:Yes
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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I decided I’d be an artist when I was four. In grade school, I drew constantly, and, in high school, I had a special relationship with my art teacher, spending weekends with him and accepting special projects that came with pay. In college, I painted with some focus at Willamette University, then finished my BA at the University of California, Santa Cruz. (A number of my college paintings were stolen, and that flattered.) I went on to do a 5th Year Graduate Certificate at UCSC. I had a host of potent teachers in those years—Robert Hess, Hardy Hanson, Patrick Ahearn, and Eduardo Carrillo, among them. While at UC Santa Cruz, I spent a summer working as a somewhat-confused boy-Friday for the art historian, Nan Rosenthal, in New York—who’d undertaken a monograph on Robert Rauschenberg. While claiming her drycleaning, repainting her table-lamps, and visiting Rberg’s studio, I was deeply influenced by the artist’s work, and that of his foil, Jasper Johns. Nan stuck our noses deep into both artists’ careers as we studied with her. My BA focused drawing and painting. My 5th Year Certificate concerned itself with painting and printmaking (the school had no MFA). I spent the next two years painting canvases, while painting houses with a very hip--but equally lazy--buddy and working as a TA for UCSC art history classes. I had one-man shows in Santa Cruz, and further ones in Oregon, Minnesota, and New Mexico—working both abstractly and figuratively in those years (painting a cache of 60s family photographs at one point). I focused on color, tone, and found imagery. In the 90s, I completed two master’s degrees (in Education and Religious Studies) and taught art and performance in inner city Minneapolis for two different museums (then taught Special Ed. on the Navajo Res in New Mexico from 1994-98). At decade’s end, I got engaged to someone even more troubled than me, then got back to Portland to do four years of adjunct teaching. I had a regular gig in art history at Clark College, and did minor work at Oregon College of Art and Craft, too. In the new millennium, I let go of painting and my fiancé. Remaining in Portland, I undertook performance art from 2000-04 in the scene around Linda Austin’s PerformanceWorks Northwest. I did dancey and athletic one-man and collaborative pieces, chatting with inanimate objects and the crowd. I studied and taught aesthetically-informed styles of yoga.
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