May 17, '08 - July 22, '08
I was in this show, curated by Larchmont gallerist Kenise Barnes
, at the Arts Exchange (31 Mamaroneck Ave, White Plains), the gallery of ArtsWestchester
(a non-profit in partnership with the County). The gallery is in an old landmark-designated bank building, and it's main room has cathedral windows and a double-height ceiling.
The show featured 22 Westchester-based artists and was loosely structured around a nature and eco-consciousness theme.
It was a super group of artists, and at the first of two openings for the show &mdash a big fundraiser for the ArtsWestchester &mdash I had a great time chatting with and getting to know a good number of them. There was food prepared by local and New York City chefs, music and an open bar and it was lively and fun. A 2nd opening, the following afternoon, a Saturday, was for the general public.
Before the show, I had only met one of the artists in the group, Tricia Wright
, and I loved that my work was juxtaposed with her wonderful painting which you can see situated behind my wall in the second photo. A few of the other artists I had the pleasure of getting to know some included Mia Brownell, Scott Goodman, Wennie Huang, Jackie Meier, Patricia Miranda and Cynthia Newman.
My project developed from an initial converstion with Kenise Barnes. On a studio visit a few years ago, she had seen a cluster of 15 or 20 small drawings and prints massed together on the wall. When she called me about this show she asked me if I would be interested in doing something like that again, and possibly add to it by working directly on the wall. I'd kicked around wall painting ideas for many years, so this immediately hooked me. There was just under three months to put it all together, and I had both sides of a freestanding wall to consider.
As I began to get rolling, I contacted an artist, Adam Grossi
, I had recently came across who has done some great things combining his panel paintings with complementary imagery painted directly on the walls. He generously offered advice on some basic technical stuff. In terms of the overall design, as well as what prints and drawings to incorporate, I wrestled with a range of ideas (1
). I quickly realized I would need to test things out by doing a full-scale mock-up directly on the wall. For wall painting stencils, I ran mylar through my inkjet printer, and when tacked to the wall these shapes were striking in themselves (3
). In the end, the wall painting I chose dictated a big reduction in the number of digital prints I added to the piece (5