The site is updated with eight new drawings and paintings as well as two images of a mural I made for Eaton Center, near Cleveland in Beachwood, Ohio.
Since the spring of 2012 I have been isolating a formal aspect of my previous work which I call the shrine aesthetic. With less emphasis on my flamboyant, rebellious characters, Delta Citizens, I am more interested in personal monuments, shrines, that refer to places (some fictional), phrases, and objects that have inspired and idiosyncratically informed me. Wreaths, words made of flowers, shields, badges, sashes, pine cones, ears of corn, peppermint donuts, vintage phones, and neck ties, among other things, are in tall, cluttered arrangements and often behind bars that protect and/or jail them. Commemorations of “Flea Market Superstar”, “Sellout”, “Delta City”, “Marion Jail Fan Club”, and “Yonkers Nursing Home” are, as banners state, “At Rest”, “Beloved”, and “In Loving Memory”.
Almost buried in these decorative showcases are the totemic, bling-draped Ice Cream Royalty. Personnages of sorts, they are crown-wearing, multi-scoop stacked cones, inhabited by sleepy shrine groupies that hold to disconnected phone receivers and lick at melting, sugary surfaces. Ice Cream Royalty are 1) metaphors for dazzling, grand artist awards- made of ice cream, they are straw houses and hauntingly sweet- and 2) playful, euphoric manifestations of migraines, one of my recurring themes. The appearance and quirky sentiment of these works are influenced by early American mourning art, which developed in response to the death of George Washington. Mourning themes were more personalized in the watercolors and needleworks of mainly 19th Century school girls and became an important genre in American folk art.
I have added four new drawings to the site. I also have a solo show opening soon in Chicago:
DELTA DONUTS, MIGRAINE WEATHER
February 3–March 10, 2012
Opening Reception: Friday, February 3, 6–9 pm
Linda Warren Projects
327 North Aberdeen St. Suite 151
Chicago, IL 60607
HEAD CASE, a group show curated by Laurel Farrin
October 26–November 27, 2011
Lesley Heller Workspace
54 Orchard Street
New York, NY 10002
30: A BROOKLYN SALON
Celebrating Thirty Years of Contemporary Art
September 15 – October 29, 2011
Curated by Elizabeth Ferrer, Director of Contemporary Art
BRIC Rotunda Gallery, 33 Clinton Street, Brooklyn Heights
Late August 2011
NEW WORK ADDED
I have added four new graphite drawings to the beginning of the 2011 works on the site. There is a more mask-like appearance to characters in recent work. This reflects my long interest in American Plains Indian and Latin American folk masks as well as older Alpine folk costumes rooted in nature worship. These drawings continue use of the stylized, migraine aura forms I’ve been applying since last fall. A character called Soho Psychic is a kind of awkward, slightly cynical, nostalgia vehicle relating to the artist’s experience. It may or may not find a place in my future work.
The drawing, Honey Bun Lover in Disguise, furthers the element of disguise and a character's close identification with an animal- in this case, an elephant. I think the elephant, which has appeared in earlier work, can represent secrets or shameful legacy when viewed as the metaphorical elephant in the room. I am also interested in the elephant's sometimes association with intoxication and hallucination. The steering wheel-like "honey bun" expands the sweets obsession of my work.
2011 New York Foundation for the Arts Fellowship recipient in the category of Printmaking / Drawing / Book Arts
NEW WORK ADDED
The added new drawings continue the imagery related to a migraine’s visual auras. As someone who has regularly experienced those ophthalmic symptoms, I am interested in a simple, graphic translation of something that is actually incredibly elaborate, fluid, and iridescent. I like that my representations of auras look more like art deco jewelry, accessorizing the funky wardrobes of my characters. Migraine Party Line, a 4 × 12 foot, marker drawing on canvas, is formally like recent works, Migraine Calendar and Drawing with Phones and Donuts, and developed one “portrait” at a time. The resulting calendar-like format is another way of suggesting community, a recurring theme of past work. The term party line refers to the shared telephone lines or circuits that existed more in the last century. Unintentionally, the drawing has a resemblance to tattoo flash sheets.
This spring, I began drawing ice cream sundaes as a metaphor for the grandiosity of migraine auras, which are a visual candy. The ice cream also relates to the sweetness of my work’s candy-striped donuts, phones and other forms. In Migraine Royalty, a big ice cream thunderhead weighs down, crown-like, on the wig-wearing central figure. It is “migraine weather” and suggests an enchanted suffering. In another work, there is playful cynicism in the over-sized sundae as a kind of art award. In Drawing with Ice Cream Award and Wig, I may be rewarding myself for my efforts whether or not there is any actual recognition in the real world.
The leaking closet imagery (neckties and water drops) returns from my last summer’s installation in France. I want to present the leaking closet environment more as “migraine weather” via the dangling striped ties that vibrate and dazzle like a migraine’s visual fortification.
Some new graphite drawings were developed at a cabin in Mississippi. My doing that always sets a unique stage for continuing a work in Brooklyn though only Mississippi Hiding Place kept its earlier appearance. This drawing, with its branches and foliage, is another presentation of visual interference and of secrecy.
I will have drawings in the NEXT art fair at
Merchandise Mart, Chicago, April 29-May 2.
Visit space #35, Linda Warren Gallery, Chicago.
I have added three new graphite works on paper that I ‘m calling migraine drawings.
I will explain their origin without too much word salad. After my installation in Aubagne last summer I thought more of the banded or striped vibrating forms I had isolated for the chapel wall painting and the Drop Inventory drawing. Striped neckties, striped donuts, and peppermint drops floated or existed in two-dimensional space like never before. I wanted to occupy or account for the cavernous baroque space with larger, essential versions of forms from my past works. In doing so, I triggered a realization that my vibrating forms, including the telephones and caps, of the last six or seven years were rooted in my twenty five years of regularly experiencing migraine auras. The orderly field of shimmering peppermint drops in the 9 X 12 feet drawing, Drop Inventory, suddenly mimicked the vibrating Navajo blanket-like patterns that dominate a migraine experiencer’s vision. The repetitive, accumulated design structure mirrors the fortification of pattern that can precede the headache, something I rarely have despite almost daily auras during the last ten years. The wall painting, The Leaking Closets of Mississippi, is punctuated with large striped neckties that become the colorful lightning of migraine weather. The striped donuts and phones that my work’s characters clutch around their faces- sometimes the donut blocks the face- now strike me as the lingering aura forms symptomatic of migraines.
I will have work in the group exhibition,
Day Job, at THE DRAWING CENTER,
35 Wooster Street, New York, NY,
December 10, 2010- February 3, 2010.
The opening is Thurs., Dec. 9, 6-8 pm
July 31–August 29, 2010
A mixed media installation by Alex O'Neal
Chapelle des Penitents Noirs,
Les Aires St. Michel
Part of FESTIVAL d'ART SINGULIER 2010
This is my first commentary on the very recently completed installation at Festival International d’Art Singulier in Aubagne, France. I will be adding more images and improving their labeling- and probably including a making of- but wanted to write about this work as soon as possible. Here are my initial thoughts:
My invitation this year to do an installation in the Chapelle des Penitents Noirs (chapel of the black penitents) as part of Festival International d’Art Singulier, Aubagne, France, was an incredibly unique opportunity and an honor. To be able to marry what I do visually with a wonderfully rich and historic space was, mildly speaking, a fascinating challenge. Putting one’s mark on an unfamiliar, large space always offers different dynamics for thinking and ambitious problem-solving. The baroque Chapelle des Penitents Noirs, was completed in 1785 and though it has, for several years, been an exposition and performance space, the building retains a cathedralesque, very organic, and enchanting nature. (The Black Penitent sect in France started dissolving a century ago.) For a Mississippian like myself, its space is a Carlsbad Caverns that allowed my thinking to be more expansive and that is apparent in the final installation.
Over half of the installation is eleven big drawings that I made in France and in Spain from the end of May till the second week of July. I wanted to arrive at the chapel née gallery in early July with an anchor of works on paper that would be a point of departure for the final installation. I had been in the space for a few hours in late June and that was helpful; I could more subconsciously start solving the problem. Ten of those works on paper have my recurring imagery, including the glam, mean hippies, though a little more essentially. I am pleased with these drawings and feel I found new paths in them, but it was a kind of interesting habit breaker to commit to a faster resolution time for individual works. I can easily, and usually, spent a month on one 20 X 30 inch, oil pastel drawing and these ten were five feet square. I found potential in isolating images I had recently used, i. e. neckties, drops, in a postcard drawing about a leaking closet. The largest work on paper, Drop Inventory, is a 9 X 12 foot, oil pastel that comments on the compulsive, repetitive nature of self-taught art and is, for me, a satisfying presentation of a rather low tech image, a peppermint drop. You will see these drops, falling from candy-striped tongues, in my other more figurative works. The remaining works of the installation are site-specific and the results of two and a half weeks working in the chapel space.
As mentioned earlier, I was isolating certain elements of my visual vocabulary and this also fueled a 70 foot (21 meter) wall painting I call The Leaking Closets of Mississippi. It refers to family secrecy, the ongoing oil leaking into the Gulf and affecting Mississippi’s shores, to the mourning art of early 19th century New England, the weeping of the religious statues, and an actual closet in my Brooklyn apartment that leaked for almost a year. Such spaces remain unusable, but a few neckties and stashed donuts remain. I want to ad that before, during, and after I made this extended painting it was about 85 degrees Fahrenheit in the former chapel due to an extended heat wave. I think making all those drops may have held some subliminal desire for rain or to even conjure up some rain. I see this work more as a community of dysfunctional spaces, not individual paintings. Making this large, but more minimal piece has revealed some heraldic potential in my imagery.
New work added April 16, 2010.
New works, made since last summer, are now on the site.
The idiosyncratic community depicted in my work has been focusing on a fictional town, Delta City, where isolation gives greater opportunity for local superstars and homegrown fashion. It refers to the Mississippi Delta, but has nothing to do with any existing Delta City found on a map. Visually, Delta City is kind of a dumping ground of - for lack of a better term- high and low styles and refers to self-taught aesthetics (as far as that is possible). I can’t know where this particular vehicle is headed, but it’s appealing as a way to further personalize my visual problem-solving and ongoing narrative.
It has taken me awhile to naturally arrive at making what are essentially “portraits” of the characters of my work. Some of those images are now on the site. Visually, each subject’s style has a shrine mentality or aesthetic.
Work in Progress
During last summer and the early fall, I worked in temporary studios: one in Queens and another temporary workspace at the Byrdcliffe Art Colony near Woodstock, NY. This was a period of developing new pieces that are still in progress. Before spending the first five months of 2009 in France, I moved from a studio space in Brooklyn where I’d worked for ten years. That workspace, which became quite dear, had unfortunately run its course though I knew finding another space later would take some time. In late October I found a new studio near the Gowanus Canal in Brooklyn and have settled into working there. As soon as more new works are resolved I will post them on the site. Thanks for visiting my site to view what I do.
RECENT WORK June 26–August 15, 2009
OPENING RECEPTION: Friday, June 26th, 6-9 pm
Linda Warren Gallery
1052 West Fulton Market St.
Chicago, IL 60607
I am pleased to have a second one person exhibition at Linda Warren Gallery, Chicago.
The show's most recent works, made at Camargo Foundation in France this year, are linked in the text below and viewable in the 2009 Work section.
The 32" X 49" oil pastel on my show's announcement, "New Looks and Accessories For The Delta Scene"(2009), puts into focus a lot of what occurred in studio over the last two years. Though still rooted in my past premise- a narrative involving anarchist Mean Hippies anchored to Mississippi’s Delta, their eccentric relationship with animals and the natural world, and an awkward fashion statement arising from these militant hillbillies' disguises- I have decided the work speaks more personally and specifically and refers more to the dysfunctional family unit. I believe I am Pop Art-izing this small dysfunctional community that, like my Mean Hippies, has its resident anarchists and terrorists, veiled in various disguises, and ready to drop their bombs at family gatherings. That being said, I have been bringing new formal aspects to the works as well- especially totemic form likely inspired by medieval architecture and Pacific Northwest Coast indigenous art, plus unusually inventive European Art Brut. The candy striped elements of past work is furthered by neck ties, King Tut masks, and platform boots. Hair imagery remains important and a new wig-combing or hair-tugging character is a poor man’s Delilah.
I am pleased that this summer exhibition will reveal so much of what I have been thinking during the last two years. The amount of works will also illustrate how an artist's works benefit from the ones he or she makes before others. That is, I feel a viewer to my show can see more how an idea or image began in one work- or was simply hinted at- and came into fruition within a year or two. Some recent paintings and drawings seem like letters I've composed of personal symbols. They have visual narratives that keep giving a viewer clues that even I have yet to fully understand.
The 2008 work that updates the site includes a group of drawings, most of which were begun in Mississippi last summer, and two large mixed media paintings from the winter. Except for "Drawing with Badges", begun in Catalunya in 2006, the oil pastel drawings were influenced by the environment in and around a rural cabin in the hillier area of Mississippi. The small, unpainted, pine cabin was once the home of one of my great-grandmothers. Though the new drawings that took root there continue my narrative and symbolism, there is different imagery inspired by the hawks, owls, and eagles that I see or hear near the cabin. A deprived, rural landscape is suggested by a sign advertising or someone exclaiming “DIRT FOR SALE”.
Mean hippies or anarchist characters in the new drawings further push their disguise, including the ability to mimic or incorporate appearances of animals. With an air of momentum, entourages of flamboyant, militant characters are both camouflaged and glamorized by more pronounced patterning. They appear as vague superheroes with paraphernalia and mascots. The image of the candy shoestring, which refers to a Delta band I drummed for in the Seventies, has branched out as peppermint-striped snakes, ropes, tongues, and clothing. Though I mainly see the homegrown anarchists of my work as referring to a broader dysfunctional American landscape, lately I see their community as a metaphor for the family unit that has its own resident anarchists and history of secrecy, as symbolized in the heavily-disguised participants. I recently told someone I might be POP-izing the dysfunctional family. Disguise, here with the original goal of assisting anarchy, goes beyond as drag. (As well, the mean hippies and animals in the drawings are becoming the other.) This impersonating may suggest that an artist, necessarily isolated in a studio, can easily refer to or need to create a both-gendered, that is, complete, world in his or her art.
Of the new paintings, "Modern Day Tarzans", among other things, refers to my meeting the most famous Apeman portrayer, Johnny Weissmuller, in Jackson, Mississippi when I was six. The experience made mythology very real and was a most welcomed escape at that time, 1963, when my hometown of Jackson was in chaos. But, this painting’s versions of Tarzan, young and old, are still the fashion-conscious anarchists who, with futility, hide and plot within the natural world. In their most glam clothes, they hang out in their unpeaceable kingdom. Hoping to embody and exploit nature’s power, one character charms a snake while another is poorly dressed as a satyr. The other 2008 painting, "Studio Ghosts", comments on both the artist's mindset in studio- among other past businesses, my Brooklyn workspace was once a funeral home- and Hollywood, which is echoed in some characters' star language (collaged photo images of Veronica Lake and Judy Garland). Paint globs on several characters' faces suggest symptoms of a plague, but illustrate the paint-covered, working artist. Recently, such a “hands-on” painter, that, in real life, would have accumulated paint trails on their clothes from wiping brushes, is ironic, even humorous, because this artistic persona seems to be disappearing from urban streets as new media and photo-based work fills a larger part of the art world. Both paintings include older style telephone receivers that suggest paintings are communications: between artist and inspiration, the viewer and the art, and the form and content of each piece.
New 2007 paintings had been added to the site.
New work furthers and also “turns up” existing themes in my paintings and drawings. Those are disguise, anarchy, and my characters' efforts to gain associations with and the power of animals. All these comment on my ongoing mean hippie, a sort of Southern anarchist, militant hillbilly, and homegrown American terrorist. From a more sedate point of view, there is also metaphor for the secretive, dysfunctional American family.
The two 2007 mixed media paintings on the site elaborate more on the element of fashion as it creates disguise. The Delta Scene shows glam hipsters, tigers, lions, and snakes wrestling around a bottle tree, that homemade, African-rooted spirit catcher of the Deep South. Here it could suggest many things: false idol, liquor as something to aspire to, trash taking root, a landscape element, and/or the enchanting bottle tree itself. It’s a different arrangement of the collaged liquor bottle images I used in mid-Nineties works, like Groovy Dudes Hunting Club (1995), to create atmospheres of alcoholism. Though I have been spending more time in Mississippi, Untitled (Wigs For Sale), 2007, is among new paintings that reflect my New York experience of the last nine years- in particular, sidewalk merchants and wig shop displays of 14th Street and Sixth Avenue: good sources for disguises.
2006 drawings were tremendously and a bit magically influenced by August spent in Farrera, a Catalan village that supports an artist's residency program. I also painted there in 1996 and works from that year are on his site. It was more than interesting to see how the village and its small population had changed over ten years. Though many of Farrera's past memorable characters had either passed or were spending retirement with family in the lowlands, a familiar enchantment was still in the air and in Farrera's stone structures, some as old as 900 CE.
What I'd like to tell viewers of the 2006 oil pastels is that the works personify the large, dramatic weather systems (El Temps) and landscapes of the Pyrenees north of Barcelona. Huge figures are the mountains, the fog (La Niebla), and the storms and they dominate a kind of opera with accompanying characters and animals. In most drawings, small, exposed mountain villages must witness and survive the eccentric, pseudo-mythological activities of their natural world.