Painting is a manner of palimpsest, a battering of layers towards clarity- ‘object-ness.’ Brush as arbiter of form. Mark devolves into a spirit of play and love of work. Painting in 2015 is a space of projection. Its weighty history makes it prime for reinvention. As a person interested in image culture rather than the cult of painting, there seems to be room for invention. At some point in the making, the painting becomes a thing with presence and I am the witness. In our culture of saturation, how is it that a painting can still have this power over a human? Every painting asks and answers this question for me, anew. Each creates its own utility.
I came to this way of looking through two major avenues. My father is a textile collector and as I child I spent a huge amount of time looking at hand made objects. In my early 20’s I organized a jacquard/dobby mill design archive. Through the process of cataloging designs by possible end use, I came to understand the importance of an idiosyncratic image and its obscurity in mass culture. I understood what the recycled image was as I successively became disinterested in looking at design and its practices of consumptive recycling.
My art object is by design without reference. The colors are hand mixed out of pigment or dispersion. They are slapped onto the canvas at a rapid clip, in layers. I pay attention to the light of day. As the layers build, so do the color relationships until an image emerges. What makes it an image? When it gives me pause. When I can no longer justify its existence. It becomes something other than something I know or would know how to make, likely through a process of irrational decision making. It becomes a seemingly ordered space of experience, with light. That’s what I’m attempting.
Secondary practices are painting in found books, and doing hanging based performance. The performance work was initiated by a collaboration with Natasha Lorens at Triangle Arts in Dumbo. We reinstalled 10 paintings in front of an audience for three hours. It was an exercise in reading & looking (Natasha brought texts). During open studios 6 months later, I had a different person from three professions install my work every hour. This excluded me from becoming the awkward open studio artist. I was the assistant watching the transformation of space that occurs with painting.
As an exercise, I paint over found books. The pages must be different enough to maintain my interest, and work in their consigned order. It is a type of visual reading, which has greatly informed my canvas work, without being a study.
Milton Avory Graduate School of the Arts, Bard College
Masters of Fine Arts in painting 2011
The School of the Art Institute of Chicago
Bachelor of Fine Arts Program, 2008
New York Studio Program, Spring 2007
Burren College of Art, Study Abroad Advanced Studio, Ireland, 2006
Solo shows indicated by asterisk
2015* Solo Show Yet Untitled, Cleopatra’s, Greenpoint Brooklyn Fall 2015
2015 Four Options: 245 Varet FKA/AKA Wildlife, Bushwick NY
2015 Jumping the Line: Artiz Group Harlem, NY
2014 About Like So: The Influence of Painting at Franklin Street Works
2014* Syntagma: Painting as Event at Triangle Art Association in Brooklyn, NY
2014 Canaries at Cleopatra’s, Brooklyn, NY
2014 A Body for the Bedroom Group Show at Bed, Brooklyn, NY
2014 Ceramics Club Pop Up Jane Hatsook Gallery Greenwich Village NYC.
2013 Initial Contractions at Knockdown Center presented by Visitation and Reanimation Library.
2013 THIS IS THE PRISM THE SPIDER DREAMS OF at SIGNAL, Brooklyn NY. Curated by Benjamin Horns.
2013 Fruit and Vegetable Stand Organized by Paul Branca, Queens NY
2013 Spread it On Travis Boyer, Matthew Fischer, Marley Freeman at 247365, Brooklyn NY. Curated by Jesse Greenberg & Macgregor Harp
2013 Rainbows Have Nothing to Hide Gallleryy, Brooklyn NY
2013* Carey Dennison/Marley Freeman Kansas Gallery, New York NY
2012 Significant Ordinaries The University Art Museum (UAM), California State University, Long Beach
2012 How Can a Digital be a Gift? Goethe-Institut New York Library
2012 An Impossible Distance curated by David Horvitz, via web
2012 House Arrest curated by Terri C. Smith, at Franklin Street Works, Stanford CT.
2012 Favorite Brooklyn Based Painters James Fuentes Gallery for VIP Art Fair
2011 Play it Again curated by ACE curatorial collective, located at Hunter College’s 42nd st. campus.
2011* Reading Boyishly coordinated by Corrine Fitzpatric at THIS IS THE PLACE, Diner Journals new creative space in Williamsburg Brooklyn
2011 Exprist outdoor painting show, Curated by Jessie Greenberg, under BOB at Columbia University
2011 Street Trash Curated by Virginia Overton, Brooklyn, NY
2011 One Night Show Curated by Leigh Ruple- Brooklyn, NY
2010 Carry On Galleria West, Group show organized by David Horvitz, Den Haag, Netherlands.
2010 How to Change a Tire MFA Thesis exhibition Milton Avery School, NY
2008 Contemporary Art Workshop, summer group show, Chicago, IL
2008 BFA Thesis, School of the Art Institute of Chicago, IL
2007 Crystal Slippage New York Studio Program, NY
2006 Moxi, New Haven open studios, CT
2006* New Works on Brooklyn, Chicago Hot Glass, Chicago, IL
2005 Two Person Show at Fringe NY, with Ali Beletic, NY