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Early this summer, I was approached by the Arts Council of Indianapolis to produce six works similar to my Patterns In Flight butterfly series for their 2010 ARTI awards. The ARTI Awards are presented annually to celebrate and commemorate the outstanding support of the arts in our community. This year five ARTI awards are being presented to businesses and individuals this Friday at the Start With Art event. To attend Start With Art, register at the Arts Council of Indianapolis’ website. The event is from 11:30 am – 1:30 pm on Friday, September 3, 2010 at the Indianapolis Marriott Downtown. Individual tickets are $60.

The six works commissioned by Arts Council of Indianapolis include:

• Dusk, Oil on canvas, 14″ x 14″
  
• Wandering Ochre, Oil on canvas, 8″ x 12″
  
• Summer Flight, Oil on canvas, 12″ x 9″
  
• Long Wing, Long Life, Oil on canvas, 14″ x 14″
  
• Appear, Disappear, Oil on canvas, 10″ x 10″
  

For a larger version of these paintings, visit the entire series, Patterns in Flight, in my portfolio. Two paintings, Long Wing, Long Life and Dusk, are hung diagonal.

Perseverance.  Rebirth.  Vitality.  Making new again

There are times when one looks back in time and remembers glimpses of what came before.  Visually, one’s eyes are isolated to perceiving what is now, however through images, pieces of time can be superimposed.  Time and animation are integral elements in my dynamic still life paintings.  During their lives, butterflies are creatures that themselves undergo great change.  They start as insects bound to the earth and transform into wonders of flight.

In these paintings, the simplified patterns of wings, closely cropped, tend to eclipse the creaturely nature of each butterfly.  Diagonal orientation of some canvases adds to the energy of the image.  This position breaks convention and presents a shape that can be referential to transition.

The details of how wings open: the way that sometimes light falls on the wings creating a translucent glow, reminiscent of stained glass, and how the patterns foreshorten as the wings open, add to the sense of movement, and at times rhythm, in the paintings.

A continuous and ‘unlimited’ conversation is encouraged by the use of short poetic titles.  These names can be understood as word plays on the butterfly’s name, but can also relate to time, refined beauty, and challenges overcome.

Patterns in Flight.  Patterns of movement, color, and light. Sometimes a pattern manifests where no pattern exists; patterns are implied but not actualized.  These paintings are not static butterflies, collected and mounted, but elusive creatures in flight.

Last Tuesday afternoon, May 25, 2010, Patterns in Flight Triptych was installed at 924 N. Pennsylvania, Indianapolis, Indiana, the home to the Arts Council of Indianapolis.  I was to be present to capture some images from the installation process. Patterns in Flight Triptych is a collage of three pieces from my latest dynamic still-life series, Patterns in Flight. This print of my work is a vinyl banner on the windows of the building and will remain installed for one year.

The entire butterfly series, Patterns in Flight, will be on display at Wug Laku’s Studio and Garage. The series opening will be August 6, 2010 during the August First Friday and the series will show through August 28. Wug Laku’s Studio and Garage is located at 1125 Brookside Ave #C7 Indianapolis, Indiana.

First the rolled panels are unboxed and are ready to be applied to the windows. Right: These are the three windows the butterfly paintings will be adhered to.

"Unwound", oil on Fiberboard

I spent an hour today taking in the show, A Working History of Things to Come, works by Eric Hudgins in Wug Laku’s Studio and Garage.  The show is aptly titled, as the paintings build upon themselves and foreshadow his current work.  Overall, Hudgin creates pieces that have interweaving patterns, ideas, and colors.  His work explores the relationship between technology and nature.  The older pieces in the main part of the gallery contain a dichotomy of nature and technology.  They relate, yet remain separate.  In the “red” room, one finds abstract paintings that seem to contain something somewhere between the extremes.  All of the pieces are painted with care.  The surface of the paintings are smooth and therefore do not obstruct the viewer from the content of the painting.

Among the earlier works on display, Cecoprian and Convergence caught my eye and mind.  These works are surreal in nature and representational in execution.  The work is presented in black frames that add to the formal, traditional feeling of this earlier work.  Eric Hudgins sums up his ideas when he states, “I believe there may come a day when technology is viewed as being just as natural as nature itself.”

"Cecoprian", oil, acrylic, ink, graphite on paper

In Cecoprian, the viewer is presented with a moth.  Half of the moth is natural.  The other part is created with intricate designs and patterns, melded with nature.  There is a combination of nature and technology, yet they stand as separate elements.  In Convergence, the dialogue between nature and technology takes on a different dimension as an alligator hatches out of a light bulb and an apple split in half reveals half of a white natural apple and half of a mechanical object.

"Convergence", detail

"Convergence", detail

The larger, newer, abstract works in the red room are displayed as frame-less, wrapped canvases.  These works are narrative, containing forms interacting with light in space and time.  The subject, although abstract, is the result of natural and mechanical influences.  It is a combination of the two separate ideas that Hudgins was previously working with.  A detail from Divine Turbulence shows how one of the planes in the picture, painted like a sky, is transposed next to a mechanical shaped plane.

Symmetry is the element that seems to hold both Running a Finger Along the Edge of Madness and The Rise of Fall together.  The paintings have energy and motion, but are stabilized by vertical symmetry.  In the first of these two paintings, it is symmetrical to the point of having a different light source for each half.  In the latter painting, there is a single light source which opens the space of the painting up to include a singular, symmetrical object.

Running a Finger along the Edge of Madness

The Rise of Fall

The show will be up through May 29.  Wug Laku’s Studio and Garage is open 12-4 on Fridays and Saturdays or by appointment.

There is something beautiful about the process of forming of ideas, thoughts, and art.  At a gallery or museum one can sometimes see the development of a series by viewing its parts, but this process is still fairly opaque with only a showing of the final work. Thankfully artist blogs are full of studies showing their process.  Below I have a series of images showing a glimpse of my process as I created three of my recent butterfly paintings.

Inspiration in Munich

About a year ago, in the Alte Pinakothek, in Munich, Germany,I saw a series of paint sketches by Rubens.  They were quick unfinished swirls of color full of energy.  I began thinking about how some walk by the sketches and see nothing but mere studies, while others eagerly take in how they visually represent the artist working out issues of form and narrative.

Images of my process

Like so many things, my painting process changes. The process of how I paint is in constant transition and the next three in the series have been painted in a slightly different way, although the result will be similar.

Images of the stages of painting #4-6 of my Butterfly series:

While in an art museum in the Netherlands last fall I noticed a sign on a cork board  advertising a special Exhibit at The Hermitage Museum of Amsterdam.  I was excited to see that it was a show of work by an nineteenth century artist whose work I have long been drawn to, Caspar David Friedrich.  I was privileged to see 6 drawings and 9 paintings by the artist and spent a long time in front of them a few days later on my last half day in Amsterdam.

Moonrise over the sea was completed in 1821, and presents a beautiful, yet contemplative scene.  I noticed several triangles in the scene.  There is a triangle where the points include the large anchors in the front, the two women sitting on a rock, and the two men standing on a rock further into the sea.  There is also a triangle between the moon, the anchors, and the men, or the moon, men, and women.  I point out those physical triangles to set the stage to point out the triangle that I think is most important.  That is, the triangle between the one viewing the picture, in this case me, the people in the image, and the moon.  The contemplation of the ones in the picture is echoed by me as I look at the painting.

Sunset (Brothers) is a tiny painting compared to some of the larger ones in the room, yet it has a great presence.  The landscape is simple with a warm glow of dusk.  The water reflects this fading light.

On a Sailing Ship is full of youthful love.  This painting was done in 1818 and 1821.  A couple clasps hands as they peer off the bow of a ship at a distant city or port.  Is the sky golden with the morning light of their relationship?  This painting is said to be completed after Friedrich returned from his honeymoon.  Unlike a number of paintings by Friedrich, where the human figures seem alone in the presence of others, this couple appears connected in their thoughts.  The couple are linked to each other, and they are related with their surroundings.

Swans was painted before 1832 and depicts two swans encased in foliage.  There is a sliver of moon sending out light into the scene. Why swans?  Perhaps because they are known for forming ties and staying with one partner for life.

These three paintings are inspired by the painted lady butterfly.  I have entitled them temporarily (left to right): After Thistles, Fluttering Cosmopolitan, and Cynthesis.  These titles have their roots in scientific classification, common association, and/or metaphors.  Ideas and intellectual direction for the entire butterfly series are still taking shape.

What do you think? Please offer me feedback and take a look at the first three paintings in this series.  At present their potential titles are Flight of the Painted Lady, Vanessa Made Up, and Seeing Past by Present.

April 3, 2009 – Part III:  Harrison Center for the Arts

Time was running short and I went to the Harrison Center for the Arts as my last stop in the First Friday Hop.  Here I met up with fellow Yarn Burners to play Bingo and create a square for our group project.  Then I hurried up to see the show in the gallery.

Susan Hodgin has her new work entitled “Cairns”  in the Harrison Center Gallery.  I began and completed the night with artwork that progressed through careful exploration of ideas.  Susan Hodgin’s paintings are created with oil paint and charcoal.  Sometimes the charcoal showed through layers of paint, and at other times, the charcoal was applied on top of the paint.  There are many layers in the paintings, and one can see a swirl pattern of uplifted surface that lies underneath the paint and charcoal.  The oil paint is unmixed and yet this variant of color and tone is not used to increase a three dimensional look of the painting, but rather emphasizes the graphic quality and two-dimensional nature of the painting.  Susan uses geometric shapes, but instead of the shapes appearing mechanical, they appear organic.  Most of the backgrounds, although they have color and light fading softly in and out, are somewhat flat, which counterparts nicely with the foreground.  Helium, on the other hand, is a painting that jumped out to me because the background seems more alive with light.  The background of Helium interacts more completely with the foreground “circles” of color.  It is a pleasing body of work.

April 3, 2009 – Part I:  Circle Center Industrial Complex

This month had a pleasing array of good art shows in the downtown gallery scene of Indianapolis, Indiana.  I started off my evening by visiting wUG LAKU’s STUDIO & gARAGE.  The current show is a representation from Wug’s earlier work, and is entitled “Raw.”  The developments of his ideas concerning his investigation into nature and language are shown through several unfinished sketches and early paintings. The early paintings are different from the digitally manipulated photographs of his more recent work, and yet somehow they seemed the same.  Unfortunately (or fortunately) a First Friday is also a time of socialization, and I did not delve into the art show as much as it deserved.  There are deep questions, thoughts, and art making going on in the garage.

From there I ran into a show by another artist I know, Dave Voelpel.  Dave does abstract landscape paintings and had his show in the Five Seasons Studio Gallery.  Lately he has incorporated the palate knife into his work giving long soft strokes in his thick paint.  I have seen paintings of his where he has used a variety of things to thicken the paint…even coffee grinds!  Dave Voelpel also had a few collages on display.  It was interesting to see the designs he made with his patchwork of recognizable images.

The final stop in the circle city complex was at Matthew Davey’s new studio.  The studio was sparse, but had a few nice figurative works in it.  There were two drawings of female nudes on one wall, a huge (10 feet? by 6 feet?) painting against one wall, another drawing on a third wall and a medium sized sculpture set up in an adjoining room.  This little adjoining room was set up reminiscent to me, as a shrine.  The sculpture (Lily, Lily, Rose) was sharply lit from the front (which was disappointing to someone who wanted to study it from all angles, but provided excellent, sharp lighting for the front of the sculpture), and there was soft music playing in the background.  It was a wonderful, detailed bronze sculpture of a nude woman with her arms above her head and her face cast upward.  It was set upon a pedestal that is reminiscent of a nail.  Around the foot of the pedestal was a pile of smooth rocks.  It was beautiful.

Recently, I finished the first three experimental paintings of Butterflies.  Last autumn, I raised 12 Painted Lady Butterflies.  I studied these beautiful little creatures as they developed from larvae, to caterpillars, to cocoons, to butterflies. Unfortunately I missed their emergence from their cocoons because they came out over a holiday weekend when I happened to be visiting relatives.  Please look at the first three paintings and let me know which one(s) you like the best!

Oil painting with animation showing motion over time.

oil painting with animation of the wings

watercolor where you can see through the top layer of time/ The view of the present is obscured by the views of the past