news

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.

February 2015 Southwest Art cover artist and feature article!

I'm very excited to announce that I have been chosen as the cover artist for Southwest Art's 2015 landscape issue, and that you can find a feature article on my work in the issue! Look for the magazine nationally in bookstores and newsstands. The article, "Serenading the Land," is on pages 72 - 75 of the February 2015 issue.  Below you can see the cover and the larger painting, A late fall evening, 36" x 58". 

December 2014 newsletter

Convergence, 24" x 60.5" on two archival panels, private collection.

Convergence, 24" x 60.5" on two archival panels, private collection.

There sometimes isn't a lot to say or do. One might see the future on the horizon or want to be more active here and now, but life presents a different, more subdued plan. Such has it been of late. It's the Quiet Time, when I'm faced with the specter of painting little and waiting as the body and mind catch up from the previous year's bustle. In the past, these times were disconcerting because I didn't know whether or how I would emerge – and was less in tune with the necessity of rest and regeneration. I still feel uneasy when the paintings pause and the studio goes quiet: what will come after the Quiet Time? But I know now to let it unfold at its own pace, and for the time being get about the work of cleaning and catching up on all that I wasn't able to finish during the year. It's time to focus on replenishing the stores and building a better foundation. So in the last month there has been hardly any painting; mostly assessing and recalibrating, planning, and taking space from it all......

See the entire December 2014 newsletter – with more images, a couple exhibition announcements, and video – 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.

Invited instructor – "Empty mind, full canvas" – Saturday, October 18

I've been asked to lead a demo at the Artisan Artists' Materials Expo on Saturday, October 19th, 2014. It'll be a good one! The session, titled "Empty mind, full canvas," will be a rare chance to see me paint a full-size outdoor landscape while answering questions and narrating my process as I go. I plan to undertake a large-format (with luck, 30" x 40" or larger) piece on-site in the rock formations at Buffalo Thunder resort. Barring an exceedingly rare late-October absolute downpour, we'll be outside. 

The session will venture into the practical and the philosophical, touching on topics such as:

  • Where “good” painting originates,
  • How we discover the best of our creative process and shepherd it through the “slings and arrows of outrageous fortune," or maybe just a busy mind, and,
  • The "simpler" logistical difficulties of painting, like wind and changing light and muddied colors.

Particular attention will be paid to painting on-site and from-life, whether indoors or outdoors. Some time will also be dedicated to discussing environmentally-friendly materials and considerations.

The demo will be from 9am - 12pm and costs $75 + tax. For those of you who would like to get your hands a little bit dirty, some sketch materials (oil pastels, pencils, gessobord) will be provided for visual notes and experimentation. You can find more details and register for the event here

Noonday sentinel (sold), 36" x 60", oil impasto on canvas. 2013. Painted on-site in Nambe, NM. 

Noonday sentinel (sold), 36" x 60", oil impasto on canvas. 2013. Painted on-site in Nambe, NM. 

New representation in Denver at William Havu Gallery

I'm very excited to announce my newest representation – William Havu Gallery in Denver, CO. It's one of my favorite galleries anywhere and I'm honored to be showing along some some great artists. The gallery was established in 1973 and is located in an AIA award winning, post-modern building a few blocks from the Denver Art Musuem. Seven exhibitions a year engage an ongoing dialogue on regionalism as it affects and is affected by national and international trends in realism and abstraction. In addition to my paintings you'll find an array of mid-career, established artists, including Mary Mito, James P. Cook, Jeff Aeling, Stephen Dinsmore, and others. Call (303) 893-2360 for information on my work or visit the Gallery Website.

Finalist! in Ray Mar Art Competition

I'm happy to say that my painting, "Bella Lucia," won another award – it was selected as a finalist in the Ray Mar Art Competition. I'm now eligible for the big prize in early 2014. This piece and a few of my other figure pieces have really done well for me lately. My other bigger figure piece, Contemplating the Nei Jing, a 72" x 72" multi-panel work, has been invited to exhibit at the Blumenschein Museum starting 9/20/2013. With the positive feedback these pieces have been getting, I've got more incentive to start in on a figure series this fall. Exciting!

New representation at Meyer East Gallery in Santa Fe, NM

I'm happy to announce that Meyer East Gallery in Santa Fe is now representing a diverse range of my work. They have on hand landscapes, still lives, and more – including some of my more abstract pieces. Meyer East is a great contemporary gallery near the entrance of Santa Fe's famous Canyon Road. The gallery's more traditional sibling, Meyer Gallery, is just across the way – making the two a great combination to visit. I'm honored they've decided to take me on. A few sample pieces are below, and you can find all the work of mine that they have on hand here.

ArtSlant 2013 Showcase - winning painting: "The storm arrives"

My painting, "The storm arrives," was selected as a winner in ArtSlant's 1st 2013 Showcase. It's a 36" x 48" piece painted onsite along the banks of the Chama River, just a few minutes from Georgia O'keeffe's home in Abiquiu, NM. This is one of my most recent pieces, from November 2012, and I'm especially happy it won -- the spot where I painted it is one of my favorite places on Earth, so it feels good for it to be seen! 

IMG_8386.jpg

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