exhibition

Work Statement / solo at Altamira Fine Art in Scottsdale

I have a solo exhibit - “Tributary” - at Altamira Fine Art in Scottsdale, AZ, up in January 2019. Here’s my very long statement about this group of paintings, all made en plein air as is the case with most of my landscape work: 

 

Painting is many things to me: A teacher, a playground, a taskmaster, and an act of respite, to name a few. Each show I produce adds new contours to my understanding. Tributary came together quickly, without any real hiccups. Yet like a river glassy and calm on the surface, but with a swift current beneath, making this show was an almost paradoxical endeavor. More than other shows it was borne of the easy and the difficult, the wild and the controlled; calm paintings emerged from upheaval, trying paintings from calm days. It became an education in existing within complexity.

The work in Tributary predominately portrays loosely objective images of Northern New Mexico. Like most of my landscape work, the paintings resulted from an unscripted process. They spontaneously started outside amidst the elements, in the rhythm of a particular day and its weather, and then progressed from on-location painting to a culmination in my studio in Taos.

Tributary’s paintings build on work from the last several years and are - in my estimation - most dynamic and engaging when viewed up-close as well as from afar. They are paintings of specific places, but they’re about the physical object as much as anything; about the tangible, textural, inspirational material that is oil paint. From ten feet away they appear as rivers or storms or foliage. Closer up they reveal a cacophony of marks, sometimes garish colors pushed to the limits of believability, and passages that teeter on the precipice of collapse.

Together the paintings further lines of artistic inquiry that I have been eager to explore – some being about specific subject matter and compositional choices, but the gestalt of which is the balance of chaos and control that I believe sustains dynamism in art. Engaging this flux brought up questions of a dual nature, ones that applied to art and life beyond the canvas: about perspective and context; about appropriate conduct and effort; about how one sees, what one misses or actively ignores, and what one embraces or refuses within art-making and wider life.

Shows are shaped by their context and they come into focus in relation to their background. Tributary grew out of the mundane as well as the harrowing and heartbreaking. Much of the context was just a full family life being lived, the seemingly small things that pepper any given day: the baby needs a diaper change for the third time this hour; the dog is up all night because he got into the neighbor’s trash. We don’t sleep, our baby doesn’t sleep, five teeth come in in one week; a grumpy morning, a fun trip, a chance meeting.

Yet these mundane things were recast by Big Things: life and death, safety, illness, home, war and peace. Small stuff became simultaneously more meaningful and important, and less so. So too did the reason for art, and for making this show – its value, potential, and role as witness, expression, and tribute became imminently apparent and also receded amidst survival-level realities.

In late October, for example, a neighbor was gunned down a few blocks from our home, where I painted “Here and then gone.” The victim – a neighborhood Crime Stopper – was shot in the belly in front of the community center, at the heart of our rural village.

During a trip abroad, while searching for the inspiration for paintings like “Skyward,” a taxi driver absentmindedly drove off when my wife and one-year old daughter were still getting into the car. They were dragged and nearly crushed on the concrete curb of an Edinburgh street; I was right there and yet unable to do anything about it. A momentary lapse in attention on the driver’s part nearly decimated all our lives. And miraculous happenstance had us all walk away.

The day we arrived back in the US, news outlets flashed headlines of bombs being mailed to public figures around the country. O’Hare Airport’s atmosphere was thick with tension and unease. It remained the predominate story while I painted “Meanwhile, in New Mexico,” the first piece I made back in the U.S.A. That same week, down the road from where I painted “Atmospherics,” someone was robbed. It’s not the first time.

Work developed in step with these background events. Big things and small things occupied my attention together; both deeply shaped how and when I could work. They shaped what I could paint. They shaped the manner in which I approached the paintings. And their complexity – the webs of cause and effect – was an  animating force that brought each work to conclusion.

I wondered in “Skyward” how the barely-seen and seemingly insignificant can hold so much power, can say so little and impact so much. In the river paintings, I wrestled with right action in the face of encroachment and imposition – on my time, on my property, in business; with where “good” work originates, how it happens despite my faux pas’, and how much I actually have to do with it. The snowy piece, “Here and then gone,” arose out of worry for my family’s safety and the exhilaration of being alive in a pounding snowstorm. “Meanwhile, in New Mexico,” with its fall colors and pastoral view, developed in tandem with anxiety for the country’s future, nervousness about being robbed, and distraction about getting our daughter to bed on time. “The midline” appeared out of deep reverence for the Rio Grande in fall as well as out of uncertainty regarding complications from chronic medical issues.

All this makes these paintings, for me, poignant reminders and ongoing teachers. They contain some of the context in which they were made. They were borne in response to the beautiful and the awful, and they inform responses to such things moving forward. They show me when I went off the rails, or when a challenge was leavened some by making art, or when I learned something new about painting or took a creative risk that brought a big reward. This is why I especially treasure process-evident painting: a story of each painting’s development is apparent on the canvas and in the paint’s nature. In its tone, manner, and topography one can see and feel momentum, mood, and vitality. There is joy and stagnancy. There is struggle and reconciliation. It’s all right there, collected, together building towards a larger coherence and meaningfulness.

Yet part of the miracle of art is its simultaneity: it is personal and universal at once. It’s essential and yet we can live without it. It can change lives, it can change the world; it can do so and still disappear without a trace. As an artist, art is much about the making and what transpires during the making. I remember my stories, my realizations. But the artwork has a life of its own, too. It travels into the world and instigates experiences that are about more than the content of a given work, and certainly about something more than the artist. The artwork can speak to life more broadly; it reaches others at levels that are uniquely personal and often surprisingly interconnected. 

These paintings were made in tribute to art and life, to inspiration, and to the rejuvenating wildness that exists in nature and our most inventive and beautiful moments as humans. And they were also made in response to some of the saddening, maddening, and upsetting facets of humanity. Tributary exists because of something far greater, larger, and more important than the paintings that make up the show: a rich, baffling complexity to which we all are vital, a complexity that animates the ever-flowing ever-changing watercourse that is human endeavor.

 

May 2015 newsletter – Big show opening May 8th in Denver & more

The northward slope and the sunset light , 39" x 63". 

The northward slope and the sunset light, 39" x 63". 

My first major exhibit of 2015 opens Friday at William Havu Gallery! It'll be the biggest exhibition of my work to-date in Denver. I'll be exhibiting in the main gallery beside renowned painter and fellow paint-lover, James Pringle Cook. Upstairs in the mezzanine area will be David Warner.

I shipped off the exhibition's works a couple days ago and I'm very excited about the group. The pieces seem to be an elaboration of some aesthetic threads I've been exploring – especially the notion of abstraction infused into recognizable landscape – and also represent an integration of a few things with which I've been experimenting. Veils of juniper and snow, 20" x 30" (below), for example, unites ideas from some of my flatter horizon experiments with some of my moody atmosphere studies. And The northward slope and the sunset light.......

See the entire May 2015 newsletter – with more images and a couple exhibition announcements – here. You can also sign up to receive Jivan's newsletters directly in your inbox here. You'll get one every month or two and can easily unsubscribe.

Featured artist & Quick Draw participant – Santa Fe Passport to the Arts, May 10th!

On May 10th, I'll be one of over fifty artists painting on-site during Santa Fe's season kick-off event, Passport to the Arts. It's a celebratory weekend of gallery openings, exhibitions, music, food, and more along all of Canyon Road. Saturday's Quick Draw, Artist Reception, and Live Auction is a headline event and should be a lot of fun – I was told that last year at the auction alone over 40 pieces sold!

Meyer East Gallery (225 Canyon Road) will be featuring my work in its main hall through May 22nd, and at Saturday's Quick Draw, I'll start and finish a piece in two hours (¡yikes!) – between 11 am and 1 pm. Afterward I'll be hanging out at the gallery, chatting with visitors for the afternoon until the reception at 4 pm and auction of the wet paintings at 5 pm.

Here is a link to Meyer East Gallery's website, and below is the largest piece on display for the exhibition.

Evening in the Land of the Sun , 42" x 66", oil impasto on canvas, Sold

Evening in the Land of the Sun, 42" x 66", oil impasto on canvas, Sold

New representation! Heinley Fine Arts in Taos, NM

I'm very excited to announce new representation - Heinley Fine Arts in Taos, NM. Heinley Fine Arts is owned and curated by Donna Heinley, an art historian and dealer originally from the East Coast - Boston and New York - where she became a noted expert on 19th Century French paintings. Heinley Fine Arts is the only place to purchase my originals in the Taos area, and I'm very excited to have my work represented in by Donna. I've found her to be an insightful and tasteful curator who has developed a gallery filled with great artwork that is given room to breathe. Other artists exhibiting at Heinley Fine Arts include Alyce Frank, Evelyne Boren, Nicholas Herrera, and David Michael Kennedy. Works by Beatrice Mandelman also hang at the gallery in addition to the 19th Century French paintings that rotate into the gallery throughout the year. Be sure to stop by when you're in Taos -- you'll be glad you did! 

The gallery is located at 119 C Bent Street, Taos, NM, 87571. For more information call Heinley Fine Arts at (617) 947-9016

Award of Excellence at ¡Encantada! 2012 national juried exhibition

My painting, After the Storm, a 36" x 38" piece of thunderclouds to the west of Taos, received an "Award of Excellence" at the Rio Grande Art Association's ¡Encantada! 2012 national juried exhibition in Albuquerque (which runs until Thanksgiving). The exhibition is filled with a whole lot of high quality art from artists residing in New Mexico and beyond. It's great to have received an award and even some great swag from Ampersand and Cheap Joe's Art Supplies. The winning painting is pictured below and is for sale at the exhibition. Contact me for more information.

After the storm, 36" x 38", oil impasto on canvas, 2010 (sold)

After the storm, 36" x 38", oil impasto on canvas, 2010 (sold)

Taos Fall Arts Festival and Taos Center for the Arts Quick Draw 2012 - success!​

The last weekend in September brought two great events in Taos -- the  2012 Quick Draw fundraiser for the Taos Center for the Arts, and the Taos Fall Arts Festival. I have three pieces at the Fall Arts Festival's "Taos Selects" juried exhibition -- which hangs until October 7th. At the Quick Draw, artists painted in downtown Taos and then auctioned off their work late on Saturday. I'm happy to say that my 20 x 24" piece, "Corner moment," sold at the auction and sent a good chunk of change to all the fantastic programming the TCA provides to Taoseños. 

July painting demo a success -- more to come in August and September!

The demonstration at Jack Leustig Imaging in Arroyo Seco went wonderfully. Saturday brought a bunch of onlookers and a few new collectors. I got about three-quarters of the way finished by 5pm and then returned on Sunday morning for another few hours of painting. A gallery of photos is below. We're already planning more demonstrations -- you can stay up to date by visiting this page or by subscribing to my newsletter (on the upper right corner of this page!). 

"Three ties" on display at Taos Art Museum through August

The Taos Art Museum, the home of which is the former residence and studio of renowned Russian artist Nicolai Fechin, invited me to exhibit "Three ties" this summer at the museum. It'll be on display through August alongside work by other contemporary artists from the Taos area as well as some historic pieces by Fechin, Ernest Blumenschein, E.I. Coase, Joseph Henry Sharp, Oscar Berninghaus, and others. It's a wonderful museum located in an incredible building -- one that was in large part handmade by Fechin himself. Truly worth the trip to Taos. My piece is below and the museum website is www.taosartmuseum.org.

Three-ties (1).jpg

"Bella Lucia", 40" x 40", invited to the Center for Visual Art at Metro State College of Denver's main summer show - "Taos Contemporary"

I'm very excited! This is going to be an incredible show featuring about 50 Taos artists; all career stages, early to late -- of regional, national, and international acclaim. The exhibition runs from May 31, 2012 - August 11, 2012 and will be accompanied by a number of other events. I'll post more soon... below is my invited painting and some detail shots of it.