New Moon event at H.I.C.A

Last night was the annual membership drive for the Halsey Institute of Contemporary Art. It is the only event that is restricted to current members and was very well attended. I sit on their advisory board but am currently on hiatus until I finish this commission. Members were entertained by a live cuban band, food and drink as well as the inaugural exhibition  Work v. / Work n. by the collage and assemblage artist Aldwyth. I didn't have the chance to attend the opening of the exhibit (I was in Atlanta) but was told by many that the place was packed to capacity. It was the largest opening in the history of the Halsey with over one thousand in attendance. 


I had a chance to finally study Aldwyth's work (a feat in itself). It is somewhat hard to describe. The best I can do is relay to you some text from the official catalog:

"She creates astonishingly complex collages and assemblages that recall the fantastical intricacies of Hieronymus Bosch. The exhibition subtitle, Work v. / Work, n., is intended to illuminate the idea that work is both a verb and a noun, and highlights the word's alternate definitions. Aldwyth's collages are often epic scaled. The viewer should be prepared for a trip through time and space. They are packed with intricately fashioned episodes, they seem like worlds that lie outside of our world, and infinitely worth exploring. To do so, however, one must turn into a viewer of cities from space, an ant crawling on a blanket."

One of the highlights of the night for me was discovering my name embedded in one of her works titled 'Document'. It's a disassembled / reassembled index of art and artists by Canady and Janson from the 1950's amended with names of artists she considers notable and scribed in pencil. I was discussing the piece with my wife and she half jokingly asked why my name wasn't included in the text. After looking to see where my name would have been had I been bestowed the honor of being included, lo and behold, there it was.

Needless to say, I was shocked (click on the image to see it larger). Thank you, Aldwyth! To see more of her work click here. Anyone interested in becoming a member and supporting one of the finest contemporary art centers in the southeast, click here.

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Shameless Christmas plug

The holidays are once again upon us and as many may not know - I self published a Christmas mystery. It is based on a screenplay that I had been working on since 1998 and after many drafts, finally decided to turn into a novel since I couldn't seem to get anyone in Hollywood interested in the script. It's a cheap gift so order a copy and stuff a stocking or two...or three. You can read a brief synopsis and get 30% off the list price by clicking on the discount link below and entering the code. 

30% OFF DISCOUNT CODE: 495VZKVA

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The A.R.T. of diversity

If you are one of those individuals that work with or in a corporate environment, chances are you are familiar with and fatigued by the constant talk of 'diversity' and 'diversity training'. A couple years back I was invited to attend a diversity panel put together by Kittie Watson (Innolect, Inc.) for Pfizer at McColl Center for Visual Art in Charlotte, NC. Kittie is a huge supporter of the arts and had developed a rather unique approach to diversity training: use artists and works of art to facilitate discussions about the difficult issues surrounding diversity. At that time there was an exhibition of artists whose works touched upon rather hot button issues of race, gender, stereotypes, etc. Afterwards I made a presentation of my works and answered questions about the real and imagined impact of some of the work.  A paper has finally been published in the OD Practitioner outlining the specifics involved in the A.R.T. of Diversity. If any corporate type is interested in reading the article, it can be downloaded by clicking here. For more information on the A.R.T. of Diversity and how you can implement this strategy in your workplace, contact Kittie at: KittieW@Innolectinc.com

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Studio is finally ready!

The studio is finally ready! I rented it on the first of the month and immediately went about the business of making it ready for art. I installed 13 sheets of OSB on the main cinder block wall and painted it white. Now I have a surface that I can staple the linen to. While working in the space I realized what a godsend it was. The height of the lowest beams and the panels are eight feet, which is the exact height of the ceiling in the location where the painting will hang. The wall is exactly 53' long, which works out to five feet longer than the finished painting is supposed to be. I had electricity turned on but there was already a security system in place (no fire alarm however, waiting on the rep to come by today to have that installed - need it for the insurance policy). I also went to have the water turned on, only to find out that it was already flowing. The bathroom was filthy but after a lengthy clean up, everything works fine. I even have access to wifi from the business below! I set up a speaker system so I can have music, news and my audiobooks to pass the time with. In essence, it's home away from home. I also forgot to mention that the location is five blocks from the house! I can walk to work. Nice, huh? This will help when the dog days of art hit (and they will). Just after the halfway point when you can see the end but it's too far to touch. The space will help ease that anxiety. I've told myself to enjoy this because there may never be another. It will outlive me and therefore take joy and pride in each brushstroke because when it's done...it's done, so let the good times roll.

I also had a meeting this morning with Nick Smith. He's a local arts writer, but having him write an article wasn't my motive. He's also a arts videographer that shot and edited a short film on an exhibition at the Gibbes Museum of Art by Juan Logan and Susan Harbage-Page called "Prop Master". I want this painting documented, but I will have no time (or editorial distance) to do it myself. I shot him an email about the project and he is all over it. I told him that I wanted no real input in his project, what he creates, he creates. The only stipulation is that UNC has to get a few copies and be able to use them to publicize the project. The copyright will remain his and his alone. He agreed and will set up shop the moment the linen arrives and I begin installation.

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The royal Grand-daughter

I am an avid reader of the New Yorker (it's my toilet material). I was reading an article about the director James Cameron (he has a new movie opening next month - Avatar), and ran across a quote by him that literally blew me away. 

"If you set your goals ridiculously high and it's a failure,
you will fail above everyone else's success." 

Wow. I'm going to paint that on the wall of my studio and make it a point to read it each morning before I start working.

_______________________________________

Since this is a fairly new blog (switched over from an old one) I didn't get a chance to post some great news: The royal grand daughter, Dylan Sanai Slade, made her healthy presence known on September 30, 2009. Let the spoiling begin!

A very happy and loving mom and pops, Raven and Michael.

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Found a studio!

I think I've finally found a place to paint. After discussing my problem with a friend, he pointed me toward a building that's located a mere five blocks from the house. The space is approximately 25' x 55' and just an empty shell above a local business. I loved the space the moment I stepped into it. It smells like creativity.

It needs some electrical work and a thorough cleaning, but nothing major. I'm planning on mounting sheets of OSB board to the wall so I can staple up the canvas and paint the whole place white. The rent is minimal to the point that I am considering trying to keep the space after the commission is completed and use it as my studio. I need a place to paint. Trying to work from the house is tedious - too many distractions. I may sub-lease some of the space to a couple other artists whom are in the same predicament I'm in. No place to paint. The far wall is perfect for video shoots. I figure that it will take about $600 - $800 and a whole lot of sweat equity to get it ready. Very exciting. I've never had a studio to call my own.

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The Innovation Institute

Yesterday, I was the participating artist in a corporate curriculum at the Innovation Institute sponsored by McColl Center for Visual Art in Charlotte, N. Carolina. The course, created by McColl's director, Suzanne Fetscher, was designed to bring corporate personnel and artists together. Led by artists and aided by a professional executive coach and consultant in organizational development, the students are immersed in a curriculum full of challenging hands-on and experiential creative exercises that attempts to reinvigorate their creative core.

In their words: "From childhood through adulthood, our educational system reduces the emphasis on maintaining creative abilities and focuses, instead, on developing our analytical abilities. The workplace reinforces this thinking and, over time, the value of creativity in the workplace has diminished. The Innovation Institute’s mission is to help you reconnect to your creative side and use it to change the way you live. Experience creative challenges, explore the boundaries of your imagination and, most importantly, develop the ability to clearly recognize, influence, and support creativity in others, and apply these new abilities to your personal and professional lives."

I start of the first session - Unlocking The Creative Voice - and tell them about my creative journey. Afterwards, we have two creative sessions where they get to explore and exploit the source of their creativity. Every other week for the next ten weeks, they will encounter another artist that builds upon my beginning salvo. The ultimate goal is to get them to the point that they recognize their own innate (often forgotten or under utilized) creative abilities. They can then begin to apply the lessons learned in the workplace and inspire themselves and other to take chances and be more innovative in their thinking and approach to work. I've been a part of this course for the past four years and am always amazed at how much I take away from those whom I am supposed to teach. It's a great course and I urge anyone who feels as though they are creatively stagnating in the workplace to contact Barbara Spradling at; abspradling@mccollcenter.org / 704-332-5535 ext. 23 to get more information about the innovation Institute. You can read more about the Innovation Institute at: www.innovationatmccoll.org It will literally change your life.

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'A Portrait of Raven'

I was cleaning out some old photos on my computer and ran across some progress pictures I had taken of the 'Portrait of Raven Slade' commissioned by my son-in-law for my step-daughter's birthday. I decided to try my hand with iMovie and compile them in a time-lapsed video and post them to the web. Many people think the painting was air brushed - this will prove that it was not. It is an oil painting done in a rather non-traditional way - based on the model of overlapping color separations gleaned from years of working in the silk-screen industry. But hey, the style works for me.

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Linda Fantuzzo

Linda Fantuzzo, a wonderful friend and fellow artist scored a nice spread in the current issue of Southern Accents Magazine. A stalwart of the Charleston art scene, her landscapes grace the walls of many homes and businesses throughout the lowcountry and beyond. It's nice to see her work featured and hopefully more people will be availing themselves to her work. Unfortunately, this is the last issue of Southern Accents Magazine. Time Magazine, the owner, pulled the plug. I'm not sure if they will maintain an online presence. Linda's article is not on the online edition so run out and buy a copy before it's gone for good. I picked up my copy at Barnes & Noble. Anyone wishing to contact her about her work can do so at lfantuzzo@bellsouth.net.

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UNC Commission

My commission for the University of North Carolina is officially a go. What am I talking about you ask? Here's the backstory. About two years ago I attended a lecture given by Juan Logan, an art professor at UNC, Chapel Hill. Afterwards, he approached and asked if I would be interested in submitting for a project that he thought I would be perfect for. I agreed to participate and about a month later the paperwork arrived. The scant details stated that the School of Government (SOG) at UNC were looking for artists to create a series of commissioned paintings that paid homage to African-American residents pivotal to the states history. The project was referred to as the 'missing histories' project. It was called that because in 1950, a series of 12 large paintings showcasing various aspects and persons important to the state's history were commissioned. Unfortunately, African and Native Americans were somewhat slighted. Example: Look at the painting on the right - the only black guy in the painting stands outside taking a strain on a bail of cotton. Such were the times.

Much to the UNC's and the SOG's credit, they realized that such unfortunate displays needed to be corrected. They put together a panel of faculty and consultants and embarked on a mission to create a series of 4 paintings focused on the contributions of African and Native Americans. I have no idea how many artists were asked to submit. All I know is that I made it to the top three and after an intensive interview, myself and Pheoris West, an art professor at Ohio State University, were selected to execute the four commissioned paintings.

Unfortunately, soon afterwards the full effects of the recession kicked in. Like many states, NC's budget defictit was near 2 billion dollars and being a state institution, funding was frozen and cuts were mandated. The proposed four paintings were slashed to two, then the remaining two were put on hold indefinitely. The SOG managed to have enough funds released to accomplish Phase 1 and 2 (planning and sketches). Phase 3, rendering of the paintings, remained on hold until the economy turned around or private funds could be secured to continue. Fortunately for me, the Local Government Federal Credit Union reviewed the plans for my painting and decided to put up the necessary funds for me to accomplish the work. Thank you! So now it's time to get to work. My painting will be approximately 5' x 48' and will feature nearly 40 African-Americans recognized by faculty, consultants and historians as important figures in the states history dating back to the early 1800's. The focal point of my painting will be the 1960 Woolworth sit-in in Greensboro, NC. The four A&T students that staged the initial sit-in will be featured prominently. The idea is to place the Greensboro Four on the service side of the counter serving the historic crowd. That concept grew out of the idea that the students, in seeking service, were actually serving a cause greater than themselves. By their courageous act, they set in motion a series of sit-ins throughout the South and helped to spread the concept of non-violent resistance espoused by Dr. Martin Luther King which was borrowed from Mahatma Ghandi during India's struggle against British rule. In the background outside the window, a collage of sorts will showcase some of the turbulent times many had to endure. The painting will be mounted on the lower level of the SOG just across from the school's cafeteria. I requested that location specifically because classes line up in the wide hallway to gain entry into the eating facility. The symbolism of a multi-ethnic crowd, waiting to eat together, having to walk the length of the painting will give them an opportunity to consider about how far we have all come in matters of race. I can see the piece clearly in my head but getting it on canvas will prove difficult and laborious. Nonetheless, expectations are running high on all fronts and I am looking forward to the challenge.

This week I will be trying to find a warehouse space large enough (and at the right price) to use as a studio. In the next couple of weeks while I wait for the necessary contracts to be generated, I will be doing extensive research, collaborating with historians and doing sketches. In the coming weeks, I will be posting my progress.

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