Dates for the showing: 5/24-7/12 Opening / reception: Saturday, 6/11 4-6 PM Location: Kam’s Wok / Wine / Dine
4500 Montrose Blvd, Houston, TX 77006
A Summer’s Solstice in 3D is a celebration of earth’s natural rhythms amidst the randomness. 3D-printed elements are incorporated into encaustic paintings in much of the exhibition, characterizing the strict precision of some of earth’s elements (sunrise, sunset, and the timings of the solstices). Encaustic – beeswax mixed with resin – which is applied in a molten state, characterizes the randomness juxtaposed against the precision.
“The Spirograph Sun Also Rises”, Encaustic & 3D-printed ABS, 18″x21″, $500 “White Gaslamp #1″, Encaustic & 3D-printed ABS, 24″x12″x6”, $600 “Gaslamp: Foggy Blue”, Encaustic & 3D-printed ABS, 18″x21″, $500
My Archway Gallery wall in May showcases two of my hexagon-framed pieces and one of my white gaslamps.
The Spirograph Sun Also Rises was inspired by my childhood obsession with my Spirograph set. The lower region has glass shards taken from the door thieves broke through in our home robbery last year.
White Gaslamp #1 features a 3D-printed representation of the gaslamp in our front yard against a green flower garden. The gaslamp, including its supports, took over 20 hours to print in its five sections.
Gaslamp: Foggy Blue is a more 2D interpretation of our gaslamp, against a muddled blue sky.
I was thrilled to receive the “Best in Show” award at Arts in the Square in Frisco, Texas during my Spring 2016 North American Tour. What a wonderful surprise! This was a really well run art fair – the organizers did a stupendous job, the artists’ hospitality was exceptional, the weather was great, and the crowds were amazing.
Combining layered image transfers with 3D-printed ABS, Tchaikovsky: Can’t go that low pulls my violin-playing days together with my oil sector career.
The musical score is the violins’ first bars of the final movement of Tchaikovsky’s 5th Symphony. The bottom portion of the piece is highly-textured encaustic, and the center tree and the colored strata are 3D-printed ABS.
Probably the greatest memory playing the violin came during a particular rehearsal with the Iowa State University Symphony. We were rehearsing Tchaikovsky’s Fifth Symphony. I was no virtuoso by any means – in fact I was way in the back of the second violin section – but this particular rehearsal, on this particular piece, I experienced a period of nirvana: I could not play a wrong note! This never happened again on the violin. And I can’t remember a sensation like that ever happening on the piano.
The inspiration for this piece came from the grand opening motif of the final movement of Tchaikovsky’s 5th. It struck me as odd that all of the violins – half of the strings – dropped out on the critical 8th note of the opening. The note was too low for the violins to play. So everybody else had to punch it. Why didn’t Tchaikovsky just raise the key a few notes?
A position of power 2, 9″x12″, encaustic on birch panel, $300
Basswood hurricane, 15″x11″, encaustic & vermiculite on birch panel, $400
Juror Anna Tahinci of the Glassell School of Arts at Museum of Fine Art Houston has selected two of my works to be in the Visual Arts Alliance 9th Juried Invitational Exhibition. These are on exhibit on the concourse level of 1600 Smith St in downtown Houston from January 10 through the end of February. These pieces are on the kiosk closest to the stairs.
A position of power 2 is the largest of my 3-piece trio on this subject. I have a koi pond in my front yard and a bayou a half-block away, so every so often we find a heron stop by looking for a snack. This particular fellow flew up to the utility line from the pond deck as I made my presence known. I retreated to the back deck where I had a good shot at him with my Canon camera. I photoshopped out the background trees and sky and put in my own encaustic sky. I then did an image transfer of the image back on top of the encaustic.
Basswood hurricane is from my Tree Basement series described in my Vermiculite and February 2015 posts. It is the smallest of the series which has sold well.
Both are available for purchase. Contact me for logistics. Note that both pieces must remain on exhibition until the conclusion of the show March 19.
Center: “Chartres”, 18″x20″, encaustic, $500 Others: various, 6″x6″, $100 each
My November, 2015 wall at Archway Gallery features my first public exhibition of my hexagon frameworks. This piece has a subtle under-etchings and is topped by stenciled etchings using instruments I talked my dentist into providing. After a friend’s comment that it had a New Orleans vibe, I named it after a venerable French Quarter street: Chartres.
The larger of the 6″x6″ pieces are some of my earlier pieces where I was doing more elaborate framing and applying a 2-part resin top-coat. The upper left is one of my pieces featuring vermiculite, and the lower right is one of my rare abstracts.
On September 23rd, 2015 the Visual Arts Alliance held the opening reception and awards ceremony for the 33rd Juried Membership Exhibition at 1600 Smith in downtown Houston. This exhibition was open to all current VAA members and was juried by the notable Gus Kopriva, owner of Redbud Gallery in Houston.
From the 457 submissions from 126 member artists Kopriva selected 65 works by 66 artists that will be on display at 1600 Smith Street through Saturday, November 22, 2015.
I was delighted to have my recent piece “Winter – Take It Away Kid” selected as one of those 65 works. It is one of many I am producing for my upcoming solo exhibition in February at Archway Gallery utilizing 3D-printed material incorporated into the artwork.
A stark tree image buried under many layers of encaustic rises and enlarges, with the final iteration being a large 3D-printed rendering emerging off the surface of the encaustic.
You may recognize this as a progression of my “Song of the whippoorwill” encaustic that was in the Lawndale Big Show last year. It also incorporates a bit of my “Maestro if you please” piece with the music score.
As a whole it depicts a memory of my sitting in the back of my high school orchestra in the percussion section, watching idly as the strings rehearsed a movement from Vivaldi’s “Four Seasons” – a piece that really inspired me to take up the violin.
The music score is the opening violin solo from Vivaldi’s Winter movement of The Four Seasons. Mari Samuelsen performs it at the 0:44 mark:
I have three pieces at the front of Archway Gallery in June for our “INK&IMAGE 2015” exhibition.
My pieces were all created by pressing ink through or over cardstock cutouts onto rice paper which was then adhered to gessoed birch panels. Tinted or un-tinted encaustic media was then layered over the work, fusing with a blowtorch, buffed to a high gloss, then mounted onto custom-made float frames.
Titles were reflective of my having to whittle down from a dozen raw prints to a Top Three for this show at the same time “RuPaul’s Drag Race” was about to crown its winner from their own Top Three drag queens with colorful names: Pearl, Violet Chachki, and Ginger Minj.
Mannequins at the leatherbar: It’s still early, 12″x9″, $300 Mannequins at the leatherbar: Thruple, 6″x6″, $100 Mannequins at the leatherbar: Let’s dance, 18″x24″, $750 Mannequins at the leatherbar: Thruple, 12″x9″, $300 Mannequins at the leatherbar: Quadruple, 6″x6″, $100
For my back wallspace at Archway Gallery I put up all my remaining Mannequins at the leatherbar series in celebration of Pride Month.
My Archway Gallery exhibit for February continues my tree basement series. The upper portions have a smooth sky background with one or more image transfers of my favorite trees for this series. The lower sections are a very textured area with my favorite additive, vermiculite, embedded to give it a golden hue.
I show the creative progression of Basswood grove basement and Basswood hurricane on my JoelAndersonArt Instagram account, together with some mannequin pieces I was creating for a separate show. You can see the progression from raw plywood to finished, framed piece.
It didn’t dawn on me until late in the series that the predominant colors I was using in the basement section were the colors I painted the house I owned in the ’90s.
The original title of Basswood hurricane was ‘Basswood mini-storage’, given that it was a smaller-scale version. But after fusing the white sky the image of a hurricane was pretty pronounced, so I felt a name change was in order rather than over/redoing things.
Finally, researching this I’ve learned that what we in the US call a basswood, it Europe the more predominate term is lime tree, even though it produces no limes. I thought that would be too confusing, sorry, so I stuck with basswood.