Solo Exhibit: Generative Conversations: Selected Works From Four Series. Encaustic

 

tinnan_2018_web

 

January 26 – February 23, 2018
Artist Lecture: Friday, January 26, 12 PM
Room 108, Robert W. Plaster Free Enterprise Center
Three Rivers College 2080 Three Rivers Boulevard Poplar Bluff, MO 63901

Artist Statement:
The solo exhibit, Generative Conversations: Selected Works From Four Series,  employs both an analog and algorithm generation of imagery that spans several years. The intent of the exhibit is to show how an artist’s work both grows and remains united over time.  These works reference each other, pull forward working methodologies and visual language, as well as leapfrog over each other from intuitive mark making to analytical generative constructs. 100 Thoughts and Instances reflect intuitive, introspective marks, colors and textures. Iterations and Arc Constructs are, by contrast, analytical and prescriptive.

The conversations of methodology, materials, and rationale are synthesized from each series and carried forward with new goals. Universal to all series is the specific use of the “mark.” The unique representation of velocity and intention as materials interact with thought. The energy of the mark, as created by the fingers, wrist, arm, and body captures dynamism, direction, texture, and intent.

100 Thoughts, a 2009-2010 series originally conceived and executed as 100 small images,

Berries I

Berries I   

was concerned  with the internal emotional landscape. Thoughts and emotions were pared down to a single essential idea and set of painterly marks that focused on a specific feeling or intention. Encaustic paintings with oil stick, imagery are about 4″ x 4″  on 5.5” x 6 Fabriano Artistico, framed 20″x10.5″x1″. Blog post. https://sisleyblinn.wordpress.com/2009/05/12/new-work-100-thoughts/
The 2012-2013 Iterations series explores emergent forms evolving in shape, texture and spatial distribution: transformations of line, color, space, and formal interrelationships. The imagery transmutes and reconstructs associations,

iterations821

“Iterations: #821.” Encaustic and Oil Stick on Cradled Panel. 36″ x 36″ 2″ 2012

straddles the states of structure and chaos, decorative and gritty, and digital mechanical replication and the authentic unique mark of the artist’s hand. The resulting imagery evokes an energized, meditative experience.

From one encaustic painting with dry point and oil stick figuration, Rondo Weaver: Lavender Blue, 2009, almost 6000 digital derivations were generated. These digital renderings served as references to create a new series of hand worked paintings.  Imagery was created in a fluid color space using under-paintings of glowing washes, grunge-surfaced tattoo-like digital layers, incised drypoint line work with Intaglio-like inking with subtle surface modulations and gestural marks.

Where 100 Thoughts was concerned with internal influences, Instances, a 2016 series,

Silence-Lost_1000k

Silence Lost

pulls forward this minimalist approach of essential visual language to reveal visceral reactions to external, daily encounters. Encounters may selectively hit a nerve, or work in combination to provoke a response: verbal, physical, visual moments translated into painterly mass, velocity, color and texture. Instances reaches back and pulls forward imagery formulation from 100 Thoughts, a 2009 series. Encaustic paintings with oil stick on handmade paper, imagery 18″x18″ on 22″x30 Fabriano Artistico, framed 28″x28″x2″.

Quotes from the blog post (https://sisleyblinn.wordpress.com/2016/06/08/instances-a-new-2016-series/):

  • “These pieces are color and texture explosions-energy captured in
    containers of rectilinear form.”
  • “I’m intentionally not trying for the perfect calligraphic mark.
    Instead, blunt, ungracious blasts of paint off rough bristle brushes
    move over the surface on their own trajectories, for their own purposes.”

In both cases of 100 Thoughts and Instances, the reductive, primal expressions represent the essence of what is left from an encounter once the superficial and knowable  is stripped away. By removing recognizable elements, what remains are responsive, experiential marks. The enigmatic feeling of an encounter made visual.

The ongoing series,  Arc Constructs, started in 2017, shares the spontaneous mark making and reductive imagery of  100 Thoughts and Instances,  and further explores the generative imagery

ArcConstruct_Dance

Arc Constructs: Dan

development cycle of Iterations. Taking one further step, the imagery of the calligraphic mark has been liberated from the picture plane into low relief sculptural space. The marks of previous series have been enlarged and codified, given specific modular forms while retaining an energetic surface. There are four distinct size shapes currently in the series that are assembled modularly into related constructs. These modular units will be used to generate an extended series. Related imagery is under development for prints, monoprints and paintings. 

WordPress:https://sisleyblinn.wordpress.com/
Instagram: @sisleyblinn

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“Instances,” A New 2016 Series

In January, 2016 I started a new series, “Instances.” My goal is to create a body of work based on fleeting moments, glimpses of experiences. The initial project was to complete 20 encaustic images, 18″x18″ on 22″x30 Fabriano Artistico. This was accomplished at the end of May.

After my 3rd piece in the series, I wrote an artist statement, to keep on track.

Instances Series                                            1-20-16

Instances, the first works of 2016 are based on using essential visual language to reveal visceral reactions to daily encounters.

Encounters may selectively hit a nerve, or work in combination to provoke a response: verbal, physical, emotional, or intellectual instances translated to visual mass, velocity, color and texture. They may be those we choose, or moments that happen to us.

 “These pieces are color and texture explosions-energy captured in containers of rectilinear form.”

  “I’m intentionally not trying for the perfect calligraphic mark. Instead, blunt, ungracious blasts of paint off rough bristle brushes move over the surface on their own trajectories, for their own purposes.”

These reductive, primal expressions represent the essence of what is left from an encounter once the knowable is stripped away. By removing recognizable elements, what remains are responsive, experiential marks. The enigmatic feeling of an encounter made visual.

The images are in sequence by season/month for the first part of the year, starting with the winter images at the bottom. You will see the color palette change from cool wintry colors, to warmer spring colors. (Click on images for titles, and slide show.) 10 of the 20 images are shown here.

Exhibit: Excerpt: #821 Selected for Invitational: Fantastical: Art of the Imagination

Excerpt: #821 was selected for the invitational Fantastical: Art of the Imagination. The exhibit will run from August 25-September 19, 2014, with a reception on Wednesday, September 3, 6-8pm. The exhibit is located in the Donald D. Shook Fine Arts Building, on the beautiful grounds of St. Charles Community College, 4601 Mid Rivers Mall Drive, Cottleville, MO 63376.

Excerpt: #821 Encaustic with Oil Stick on Cradled Board 36"x48"x2.5" 2014

Excerpt: #821
Encaustic with Oil Stick on Cradled Board
36 “x 48″ x 2.5”
2014

This painting is part of a larger series that explores the idea of excerpts or sections of a larger whole, slices of experience that carry meaning: planes of color-space, textural grunge layers, and energetic calligraphic marks convey feelings and clues to an ambiguous location.

Gallery Hours

8 a.m.-8 p.m.
Monday-Thursday

8 a.m.-4 p.m.
Friday

10 a.m.-3 p.m.
Saturday

Solo Exhibit at St. Charles County Arts Council June 1-30, 2013

Join me for a solo exhibit at the Lillian Yahn Gallery, St. Charles County Arts Council. Over 40 works of art. Easy to find in Winghaven, O’Fallon, MO. 7443 Village Center Drive, 636-561-0028.

show card

Sisley-Blinn/Mixed Works
Paintings, Drawings, Prints
Solo Show. June 1-30, 2013
St. Charles County Arts Council

I will be at the gallery from 1-8 pm on Saturday June 8 for the reception. There will be an encaustic painting demonstration at 3pm.

Artist Statement

I am drawn to the ideas of liminality, chaos and deeper order, and the subsequent  visual constructions of atmospheric environments overlaid with ordered structures.

In other words, in the process of decoding the bombardment of daily information, I try to focus on key concepts of visually fascinating instances.  To get to the essence, I strip away the social-cultural temporal interpretations, which leads me to a moment of defined introspection. A cusp between the representational and the knowable, and the less tangible properties of emotion and non-linear identification.

As an example, what may have started as the observation of a wintered field, becomes a recursive process of refining the visual planes, a study of the saturation and dispersion of coloration within the landscape space over time, and the reduction of extraneous noise, such as telephone wires and poles, cars and people, billboards and street signs. Eventually I come to a balance of the essential elements. The question of, “What is catching my attention about this scene?” is closer to being answered.

Often, a horizon line of trees that wind break one field from another may slide up or down the defining space of the painted rectangle. The decision of more sky or more field may result in the line of demarcation sliding off the edge entirely forcing a reevaluation of the newly created internal landscape dialog.  Maybe I didn’t actually need the trees, field or sky. Perhaps it is the references that are constructed by light and shadow, texture and pattern that are the subject reinforced by the cool or warmth of the day, energizing scents of the woods, sounds of the birds. The divining out of the essential  experience of the space pushes the composition across the cusp from realism to abstraction, from the knowable to the “less sure.”

This chaotic imagery of fluid color and implied movement can be disorienting. So superimposed systematic shapes,  grids and restraining lines, repeated patterns and textures are used to create stability: structure over chaos grounding the visual experience. Like looking through a rectangular window frame at the blowing garden leaves and petals on a blustery day. These spots and flows of moving colors, patterns of light and texture, reveal the path of the wind, and perhaps our thoughts.

Mixed Works: A Survey of Work in Various Mediums strives to cover several years of art creation that steps back and forth across the cusp of tangible and intangible interpretation. From minimal landscapes, abstracted bouquets, to distilled internal discussions dependant on color, texture, and pattern which create meanings and relationships. Over all, it is my hope that each piece offers a meditative space, a visual moment of contemplation.