I drew this colored pencil portrait of Bernie Sanders during the 2016 primary season. I never expected that, within one year, this would happen.
That’s my brother Ian on the left. He gave Bernie a gicleé print of the drawing and Bernie pulled out his pen and offered to sign another copy that my brother was carrying. Adam took the photograph. Bernie signed right across the chin.
The best part about this: they were able to keep it secret for over 6 weeks until they saw me in person and were able to hand it to me directly.
I’m told he was impressed that I captured the likeness so well and was grateful to take a copy with him.
I just got it framed by a neighbor and Dorsey Gallery artist, Mr Bell Bey. He did a fantastic job.
546 Flatbush Ave
Brooklyn, NY 11225
I’m showing several paintings with two landscape photographers, Yoshiko Mori and Robert Marvin this month. We deal with very similar subjects through very different approaches. The show came together nicely! Please join us for the opening if you are free.
The show statement is below:
A recent Yale-led study put the approximate number of trees on earth at 3.04 trillion, over 7 times the previous global estimate of 400 billion. Instead of 61 trees for every human on planet earth, the new estimate is 422 trees. While good news, this study also claims a 46% decline in tree population since human civilization began.
Roughly 7-8 trees provide the oxygen one person requires for a year of breathing. US urban forests sequester over 700 million tons of carbon. Worldwide, the equivalent of almost 270,000 trees is either flushed or dumped in landfills every day (roughly 10 percent of that total is attributable to toilet paper). Prospect Park lost over 500 trees during Hurricane Sandy. Worldwide, our net loss is about 10 billion trees a year.
How do you value a tree? You only have 422 trees, knowing that, does it change how you look at an individual tree? 422 sounds like a lot, but is it?
We are exhibiting three contrasting interpretations to landscape and the trees that live in them. Art can provide empathic aesthetic and emotional connections to these living beings, highlighting small moments of awareness and appreciation. Our trees can fade into the background of everyday life, but they are ever-present and necessary collaborators on a finite planet.
Join us for the opening reception @ Tugboat this Thursday at 6pm!
I’ve got two small pieces in this annual group show @ The Dorsey Art Gallery. This show is to give thanks to those who participate in their annual holiday charity auctions. I’ll be there sometime after 5pm on Sunday. Come take a look at a wide range of art.
I’m in a group show that opens this Thursday, June 11th 2015 @ Tugboat Tea Company (546 Flatbush ave). The opening is from 6pm – 9pm. Come out if you can! Otto has a small piece in the show. There are over 20 other artists showing, including Karl McIntosh, Bob Marvin, and Joe Bell-Bey.
The show is accompanying a 6 (!) gallery Otto Neals retrospective happening over the course of the month. You can find out more details about those shows here: www.ottoneals.com
I highly recommend checking any one of those shows out.
I hope you will join me for an opening of a my solo painting show at Tugboat Tea Company in Brooklyn. Openings are the best, you get a bunch of people together to talk, drink wine and eat cheese, while looking at art. I have a handful of new paintings on display. A few old favorites as well!
Are you on facebook? RSVP here. And bring your friends!
I consistently try not to see the world as Nature and Culture or subject and object, but as a unified field of relationships. Dualism is an over simplification that can be harmful to our current ecological condition—when we view the non-human world as objects, it is a precursor for abusing that world as well as divorcing our self from any responsibility for our planetary impact. We are not the sole subject of the narrative of Earth. Our landscapes are woven with the stories, trajectories and agencies of human, animal, plant, mineral, idea and thing. We have a dependence on this landscape of things, alive and material, which in turn is dependent on us.
‘Pictures of You’ refers to the permeability of the self when taking this view. Where does the individual end? We are the landscape we live in. You live here? I painted you. My work is a collaboration with landscape in order to produce affects in myself and others, aesthetically and emotionally reconfiguring ways of seeing the world.
Unfortunately I won’t be around for the exhibit, but if you are in London, please attend!
Silwex Studios, Quaker Street, E1 6SN Don’t forget to RSVP!
Private view- Guest list only firstname.lastname@example.org
Exhibition continues on the 13th and 14th April
Open daily 12-6pm (admission free)
Repre are a group of nine artists that share a common vision to capture and depict reality. From the body to the landscape, each artist is concerned with not only depicting the real, but exploring the boundaries of realism within their practice.
Repre 2 will be an experimental exhibition exploring each artist’s relationship with realism. As a group the artists are unified by the starting point of reality, but ultimately their work is a personal and unique approach to depicting the world around us. There are a variety of ideas that the artists are driven by such as surface, mass media, atmosphere or the deconstruction of reality, these themes will provide the basis for the exhibition and will give an insight into the role of realism within each artist’s work. Alongside showing individual pieces, the group will work on a live painting over the course of the weekend, the collaborative piece will allow the artist’s to question their own practice and come together as a group to explore the representational and experimental artistic process. The exhibition will end with an artist’s talk on Sunday 14 April, to open up a discussion around the themes of depicting the real, working collaboratively and the outcomes of the exhibition.
The group’s name, Repre, is itself a reflection of the distance it sets itself from the constraints of traditional figurative art. Repre is a segment of the original word ‘Representational’. The artists aren’t solely bound to painting the real but instead challenge their approach and ideas to make their work relevant to the contemporary art world. By using a variety of themes, influences and ideas the group’s work provides an exciting approach to figurative art.
I am excited to announce I am in a show in London opening up this week! We are a group of representational painters called “Repre.” I wish I could be there for the show! But I am please as punch that my paintings will be.
A unique collaborative exhibition brings emerging talent to the surface
Repre art collective is a group of artists who have come together to exhibit, celebrate and promote contemporary representational art. They share a common vision to capture and depict reality and express it through diverse and eloquent forms of painting. This is their first collaborative exhibition together and the installation promises to be a vibrant display of contemporary portrait and landscape painting.
The choice to hold their first exhibition together in St Martin-in-the-Fields and at the heart of the establishment in Trafalgar Square conveys their desire to raise the profile of contemporary figurative art and what it can truly articulate. It is fitting that a venue which has shown work by established artists such as Chris Gollon and Mike Chapman can also accommodate the work of emerging talent.
A prize draw will take place on the night of the private view as Julie Bennett, Nathaniel Fowles and Patrick Simkins will be donating limited edition prints of their work to raise funds for St. Martin-in-the-Fields BBC Radio 4 Christmas Appeal.
Exhibiting artists: Julie Bennett, Nathaniel Fowles, Jemma Grundon, Noel Hefele, Amelia Humber, Rebecca Molloy, Louise Morgan, Andrew Newton and Patrick Simkins.
The Gallery, St. Martin-in-the-Fields, Trafalgar Square, London, WC2N 4JJ
Decent session tonight on a painting of the chinese pavillion in prospect park. It is about thirty inches wide. The space is a relic from a different era. It is also interesting to see the landscape outside of the structure. Nothing but light and shadow will be inside. I am unhappy with the composition at the moment but believe I can make it sit better.
Pretty inspiring solutions to drawing the city landscape, by children at Felix’s school. They had an art show the other day, and it was impressive. The range of experiments on display was a testament to the teacher. The styles of drawing and the curious solutions proposed by children are always interesting.
Apologies for the blurry picture—it was an elementary school gym with less than ideal lighting conditions.
I find these nightscapes incredibly inspiration with my current immersion in the city. The children work in vertical or horizontal format. They stack the geometric shapes of the buildings with a logic that can only come from those who are growing up right inside of this place.
I think what is referred to as “artistic talent” is solely what is left in certain people when the rest have let go, buried or had it beaten out of them. ALL of the children seem to have artistic potential, but how many continue to develop it? Kudos to PS 249 for such a nice exhibition.
I’m delighted to be a part of a new group of painters, primarily based in the UK. We have recently established our group and are working toward producing our first exhibition.
From the site:
We are a group of artists who have come together to exhibit and celebrate the work of contemporary representational art.
We work on varying subject matters, from portraits to landscapes. Each work is based on capturing forms of reality, there maybe abstraction within the style and detail, but ultimately we all work as representational painters.
Take a look at some of the other painters…. it is an interesting bunch. I wonder if we are in the “non-representational” area of practice, a theory pioneered by Nigel Thrift. As I understand it, the process is the important part of the painting. The resulting painting is more an extension of the landscape or the painted object itself expressed through us. The diversity of styles and subject choice within the group seem to attest to this.
We push pigment, in collaboration with materials of the earth and immersed in the visible. Eventually, something resonates meaning back. We come to know what is around us through participation. Perhaps our paintings are the “fruiting body” of a sensuous engagement with world we live in.