On tracks

I haven’t been doing nothing; I liked having a show and getting all that attention so much that I applied for another one. Aside from the work in the last show, I have other things which have never or rarely been shown publicly. This is a collection I call the “colossi” because they’re all over 15 feet – among which are two inflatables, portable and easy to put up, if you have the space.

I thought about a partner to show with. I have a friend, John Harnois, a photographer, with whom I talked often over the years about applying for a show together at the Buckham Gallery in Flint. John also has some very interesting older work which has stayed in my mind. This work he calls the “Acrobat Series”, is nudes photographed with a panoramic camera. Although, what he’s best known for is selling his hand-raised chickens and eggs at the Ann Arbor farmer’s market.

And since it’s the age of internet communications, thank god galleries don’t require you to submit tedious proposals, resumes and statements, but accept webpages about your cooked-up ideas. See: http://colossiartshow.wordpress.com/ for John and my proposal. We probably won’t get it, but we try.

John’s voluptuous, factual, nudes have got me thinking – I’ve have a rough idea for new sculpture in wood to do, and what if I worked it along in the feeling of his oh-so literal nudes? My work’s ordinarily so cute and de-sexualized – what if?

I began with some notebook sketches I’ve had, called “Baby”.

a_nudemodel

Did some more drawings, this time a woman, a genuine reclining nude. So classic, no?

b_nudemodel

Progressing to some clay models.

c_nudemodel

e_nudemodel

I have a piece of cottonwood I’ve been saving for something to do. It should carve like styrofoam, or should I use real wood? Am I going to build this? I don’t know. Is it too weird?

Again

This is the first time since I brought the show home that I’ve been thinking again about new works to make. Meanwhile I’d been dancing tango a lot, and listening closely to people talk about art, & when they warily mention what they themselves are doing creatively. Once you are out as an artist more and more people will say to you what they are doing or aspire to do. There are lots of poets, dancers and photographers out there, and painters & sculptors; and the children of artists or someone in the family who does or would do something. The great stereotype of the Artist in other times was the bohemian starving in the garret in Paris, or hanging out in 50’s Greenwich Village at the bar. Today, the artists I know are the anonymous persons who’re working nine to five, struggling to find a any moment at all to create something beautiful & meaningful to, at least, themselves. Everyone, whatever you’re trying to do – keep doing it, and see what happens.

I didn’t know what I wanted next; something experimental and abstract – printing, carved low relief, or drawing on canvas ; another heavy involving production in wood or metal; something really large, and lightweight (who has enough papier-mache in their life?)? Then I remembered that the whole time I was finishing the last thing, I was already considering the next. So I’m going to go ahead with all of them and see which one compels me the most. I’ve cleared out the shop, collected most of the materials, and I have firewood for the stove. Hello Winter & introspection & creativity.

Imagery & Materials

The next day I went back to give a gallery talk with Joyce and Mary, the curator. This was actually kind of fun, much better for talking about art than the few minutes you get with anyone at opening night. Joyce talked about her paintings and the imagery in them, it’s source, the cacophony of images which are the World, and the Mind. It made me think that what imagery is for painters, material is for sculptors. The myriad and endless supply of that thing from which we produce our work, the World. The materials I work from are found everywhere, cement, bronze, plastic, wood, iron, stone, steel, put to a purpose in the built world; but to give them a character and an expression which is their own, not an only utilitarian one, is art, is sculpture.

Every material brings it own nature that causes what I find to do with it. Wood is the only material that has been alive; it is a kind of flesh. Metal is unyielding, up to  the point it is melted, and then it becomes suddenly pliable liquid. Stone was once liquid and is now crystal, harder than metal, it can only be chipped or ground, and by the simplest tools, hammer, sand, water. Plastic is like room-temperature metal, but can only be formed once, and never reformed again in a liquid, it becomes a soft stone. Clay is almost without an original identity, because it is all materials in one. It is a type of dirt, the earth. Everything else in distilled or mined or grown from it. It is primordial substance. Everything is clay. Clay is to sculpture what abstraction expression is for painting. A material able to express from out of the Mind whatever can be imagined… even the formless.

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.

a_showopening

b_showopening

c_showopening

d_showopening

e_showopening

f_showopening

j_showopening

k_showopening

l_showopening

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.

scene1

scene2

scene3

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.

###

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

Chase and patina

When the cast piece is complete, and the sprues are cut-off, there remain scars where the grinder or saw was used. These areas need to be finished to match the look of the rest of the surface. To chase, is a metalworking term, to ornament metal by engraving or embossing. From this:

To this:

b_chase

Just mess it up with chisels, punches, files, hammers, stones, whatever, it don’t try too hard to make a match of the texture. It’ll look fine when you heat the spot with a propane torch, which darkens the metal by oxidation I guess.

I leave it all outside for several weeks, and I spray it down regularly with a teaspoon of cupric nitrate mixed with 12 oz water.

..and it slowly turns this nice color. This is patina.

e_chase

When I’m ready to commit to the patina, I give it a light wax to stabilize and protect it. This darkens and warms up the colors, and brings out the shiny highlights both at once. Real nice.

g_chase

h_chase

i_chase

A and Q supply a nice rock for a base, and Eureka! It is finished & ready to show.

 

Less is More 6x9 75

October 4 – November 1, 2013

Main Gallery: Joyce Brienza & Matt De Genaro
Opening Reception: Friday, October 4 – 7pm – 9pm

Paint Creek Center for the Arts
407 Pine Street
Rochester, MI 48307

Gallery Hours: Monday – Thursday 9am – 9pm, Friday 9am – 5pm, Saturday 10am – 4pm

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.