Category Archives: Art Commentary

Comments about what I’m seeing

Opening Night

My opening last week went great! Thanks to everyone who showed up or sent me their good wishes. It meant a lot to me to see or hear from every one of you.

You can commit to do some thing a year or two years in advance, and work hard to do a lot for it, and rush at the end to do some extra things, and so often, just eek by. But I didn’t do that. I was prepared and complete, and I did it in good style. I’m proud of the way I presented myself.

I’ve made sculpture since I was a child. When I was a little skater dude, people thought I was that skater dude who made sculptures. When I was a punk rocker people thought I was that guitar player who made sculptures. When I was a network administrator, people thought I was that network administrator who made sculptures. When I was a rock climber and snowboarder, people thought I was that rock climber/snowboarder who made sculptures. When I do yoga, people think I am a yogi who makes sculptures. At work, people think I’m a computer systems guy who makes sculptures. And now I dance tango, people think I am a tango dancer who makes sculptures. But all along it is a Sculptor that I’ve been. I am a Sculptor, nothing more, those other things are just by-the-way.

It felt good to stand there at the opening, surrounded by the work I’d done, and receive the recognition of the people there that they knew me for what I am.

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Installation

The show is now set up. I went in on Friday with my trusty helper A., and hauled everything up the legendary flight of stairs to the gallery. Sculpture is heavy. Then we went dancing. Saturday I slept in and later on, I cleaned up my studio. Sunday I took stock of my life and decided I had done my best, I had presented myself well. I feel like my imagery is consistent, the materials are varied, and both are developed to distinction.

On Monday I went back again and took photos before Joyce arrived with her paintings, but really, our work looks so good together that I will shoot new ones.

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twistys

beach

iron_b

cyclops

BB&Gs

henry

Bznbeach

splash

large tree log

I made this cuteness outside the front door of the gallery.

grass

Press Release: "Less is and More"

Here is the press release for my show, “Less is and More”, written by Mary Fortuna, Exhibition Director at Paint Creek Center for the Arts. I like Mary’s interpretation of my working process and I want to thank her for inviting me, and all the hard work she’s put into organizing and promoting this show.

FOR IMMEDIATE RELEASE

Less is and More
Joyce Brienza and Matthew De Genaro
October 4 – November 1, 2013
Opening Reception Friday, October 4, 7 – 9 pm Gallery Talk Saturday, October
5, 2:00 pm

There are as many approaches to art making as there are artists. There are those who are inspired by a wealth of imagery, pattern, color, symbols, cultural and historical reference, and draw on all these elements to create drawings, paintings, collages or objects. Others are moved to simplify and refine their works, drawing on the Modernist interest in material and process. The one samples from any number of sources and seeks a means of unifying them to create a satisfying whole and convey meaning. The other works and reworks an idea, driven sometimes by the material at hand, sometimes by a working process, applying both to a generalized form that lends itself to repeated exploration and experimentation and abstraction. For this show, we have selected two very different artists who use their own individual approaches to create works that are unmistakably their own.

Joyce Brienza is the “more” of this Less/More equation. She uses a collage technique to sample a rich variety of images, patterns and other elements that carry personal associations that resonate for her, creating her “peculiar brand of hip hop.” The critical element for her is pattern, which serves multiple purposes. In the artist’s words, pattern “…is a reference to traditional “women’s” handiwork and questions the duality of high and low art.  It provides a grid formation that connects the floating elements (information) together.   And finally, it works to disrupt the continuity of the image, placing roadblocks in the way of logic and control.”
Matthew De Genaro produces work that is deceptively simple. He creates endless variations on the human figure, abstracting the essential form. He says, “…sometimes the nature of the material defines the figure, at other times it’s the process of working the material that defines it, and sometimes, the figure dictates the use of material and process.” He has explored his figures in every scale and in every material imaginable, including cast bronze, cast resin, carved wood, stone, fabricated wood and metal, inflated fabric, stacked rubber inner tubes, cardboard, even manipulated living grasses.
Joyce Brienza earned her MFA at Rutgers University in New Brunswick, New Jersey. She has exhibited her work in gallery and museum shows all over the United States and in Germany, Argentina and The Netherlands. She teaches art at several schools in the Detroit area, and has participated in artist residencies in New Jersey and at Children’s Hospital in Detroit.

Matthew De Genaro earned his MFA at the School of the Art Institute of Chicago. His work has been exhibited in galleries and museums since 1980.
The works of these two artists complement each other, even as their methods and finished artworks are so divergent. They are two long-time Detroit area residents who have applied themselves for many years with a singular dedication to their methods and materials. They both explore their various media with a purpose and confidence that come from long experience and a willingness to experiment with everything at hand. What perhaps joins them, even with all their difference, is a sense of humor and a playful approach. They share the gift of being serious about their work, without taking themselves too seriously.
Please join us in welcoming these two artists at an opening reception on Friday, October 4th at 7:00 pm. We will host a gallery talk with the artists on Saturday, October 5th at 2:00 pm. The opening reception and gallery talk are free and open to the public. Visitors will enjoy an opportunity to meet the artists and gain some insight into their works.

This exhibit is supported by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts and the Kresge Foundation.

PCCA exhibitions are sponsored by Dokka Fasteners, the International Academy of Design & Technology, Rochester Hills Spine Care, Whims Insurance Agency and WiT.

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The mission of Paint Creek Center for the Arts is to enhance life in the region by promoting, encouraging and creating opportunities to participate in and appreciate the arts. Paint Creek Center for the Arts is open Monday through Thursday, 9:00am to 7:00pm, Friday 9:00am – 5:00pm, and Saturday, 10:00am to 4:00pm. PCCA is located at 407 Pine Street in downtown Rochester at the intersection of Pine and Fourth Streets. For information on exhibits, classes, the Art & Apples Festival, special events or volunteer opportunities, call 248-651-4110 or visit
www.pccart.org<http://www.pccart.org/>.

Mary Fortuna
PCCA Exhibitions Director
248.651.4110
www.pccart.org

The cave

My Yoga teacher’s teacher’s teacher studied in a cave, so I am two steps removed from that. That’s close connection to the root of a practice.

The Cyclops of The Odyssey, dwelled in a cave. Plato proposed truth in the metaphor of a cave. The oldest known Art is discovered in caves. Deepest caves are unexplored parts of Earth. Mystics (and madmen) are of the caves.

Today I brought my Cyclops sculptures out of the barn to sit in the open and cure their patina in the damp and sun, and it felt for me I was coming out of a cave; a lonely place of deep study and of looking inward for truth. Those who dwell in caves seek no attention and receive few seeking understanding. This is what is seems to me to be an artist. Remote from the world, gazing upon my own interest only, without message, irrelevant to the world.

I know there are artists who cell-phone-in their tunings of the interactivity of their artworks which explore the connections between multi-media performance work and social justice movements, respond to and evoke responses from their viewers about the subjects which their grant sponsors feel are critical, …but I couldn’t care less. That is propaganda compared to my practice.

Density

Confronting this morning, the dense-ist misunderstanding by peoples of my reasons for doing this.

In living as I think most people do, I arrive at situations as they are well underway, and all of what I can hope to do is fix whatever is already broken there, and do this over-and-over again. Art at least gives me the chance to create something from the beginning, under control, and if necessary, make my own mistakes, which I will fix, as best I can, and learn why.

Anagama

I have seen something very interesting – a very large wood-fired ceramic kiln called an anagama.

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We have a lot of language about the transformative power of fire, but how many people have witnessed and understand what it is? How clay is fired, how metal is cast, how welding is done? This kiln burns for 9 days with attendants continuously loading in the wood. It fires a year’s worth of work by the artist, and other work by his friends. This is what you can do in Michigan, in a small town, on your own property.

More about: http://kenshenstone.com/shenstone-kiln.php

Mold making Beachstones 2

 

47_beachstonemoldThe silicone trimmed-off.

 

 

 

 

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The first half mold finished. Plaster mother mold and silicone mold together.

 

 

 

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Next half begins. Again, apply a clay blanket 1/4 to 3/8 inch thick to exposed object and mold. Remember, the clay will eventually become the shape of the poured silicone later. I carved some half-round indents onto the plaster in each corner to create an interlock with the 2nd half.

51_beachstonemoldThe two molds ready for the 2nd half plaster mother mold to happen.

 

 

 

52_beachstonemoldReady for plaster to be poured; each mold boxed, with a pour sprue for the silicone. Seal edges of mold along the sides of the box to prevent leakage. Apply spray-on mold release liberally everywhere.

 

53_beachstonemoldMarks on the tube show how deep to pour the plaster. One inch is enough. Light weight is better.

 

 

 

55_beachstonemoldPoured OK. Allow to dry at least 48 hours. Plaster continues to harden for days.

 

 

 

56_beachstonemoldRemove the box and tube, open the mold carefully using fine wooden wedges. Don’t force it.

 

 

 

58_beachstonemoldRemove the clay blanket, you’re done with it. Wax the whole surface of the plaster with Briwax, and spray release on it and the first side, and model, &c.

 

 

59_beachstonemoldReassemble the molds, ready for casting the silicone. Seal the funnel sprue area with clay.

 

 

 

61_beachstonemoldThe silicone poured. See the clay seals around the sprue required to keep the silicone in the mold.

 

 

 

64_beachstonemoldCure silicone 24-48 hours, and open the plaster mold. Trim off any over bleed.

 

 

 

67_beachstonemoldOpen the silicone mold.

 

 

 

 

69_beachstonemoldRemove the model. Nice. This is what it’s all been for.

 

 

 

 

72_beachstonemoldReassembled molds, ready to be poured with wax, plastic, or cement.

 

 

 

This whole 2nd half mold was another 6 sessions of work, about 4-6 hours each, or about three weeks of weekends and nights after work. My October, Happy. These are two good molds and now I hope to get some good product out of them.