Hiding in Plain Sight Mylen Tumaliuan-Huggins
Inspired by color, texture, depth, and random or natural compositions, I am just as interested in the shapes of objects as the shapes or spaces between objects. The layered textures and subtle color variations of leaves on a tree, the sun's reflection on petals of a flower, the glow of seedlings as they push through the earth, the placement of a lily pad upon the water, reveal a story that I translate into a painting. I work in different mediums and use different techniques – encaustic, printmaking, oil, acrylic, ink, oil pastels – but the common denominator is nature.
Lockdown Paintings Roark T. Congdon
All the work in this exhibition was created between March 15 and June 29, 2020.
My belief is that tradition and innovation are not opposites.
My artistic training was in classical sculpture, bronze casting, and architecture. In 2013 I walked away from artmaking and began to focus on—and teach—digital fabrication.
The work here was created by first using a standard painting approach. The gestural/analog/multi-layered brushstrokes are an unabashed nod to many twentieth century painters. The lighter lines were then drawn using software called Rhinoceros, a 3D modeling program. The paintings were etched using a laser cutter that I built in my basement during quarantine, specifically for this process.
Unfortunately, dozens of paintings were incinerated and destroyed in the development of this process and the making of this exhibition. Some of the work you see is torn or burnt. Consider it Wabi-Sabi, an artifact of the process. The titles reflect the day they were “finished”.
Bound |Un| Bound
The dichotomy between farmed birds and those residing in nature is explored in an installation of new paintings and prints.
Oil on panel
Murmuration 2020 (detail)
Screenprint on tracing paper
The wall sculptures are informed by stick charts used by Pacific Islanders to teach tides, waves, and currents to ocean navigators. I also take interest in cave paintings, pictographs, hieroglyphs, and test patterns. They convey information and contain incidental abstract beauty. Until recently, most of my work was free-standing and vertical and read as two-dimensional graphics. Now, I have opted to negate the base and approximate the idea of the work floating in space by securing it to white walls. I like the contradiction of that and of realizing drawing as a physical object.
Antarctica Traffic Control, no 1, Steel