The White Columns Curated Artist Registry
is an online platform for emerging and under-recognized artists to share images and information about their respective practices. The Registry seeks to create a context for artists who have yet to benefit from wider critical, curatorial or commercial support. To be eligible, artists cannot be affiliated with a commercial gallery in New York City.
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STATEMENT OF WORK
I've just made my first few paintings. These are small pieces on wood that combine just a few paint colors and lines made both with pen and CAD drawings of objects that I've made. These paintings all depict an, often vague, architectural space and it's interaction with an object; there is a mottled whitish-green desk organizer in a mottled whitish-green corner, an uprooted turquoise model of an in-ground kidney pool next to the end of a rectangular turquoise wading pool in a whitish-grey space, and two partial white long-ashtrays on a light green floor.
The other half of my current studio practice takes place in a small, windowless, fluorescent-lit, all white room in my studio called Misty's Meadow. It involves moving painted objects around the space and ultimately engaging them with the space itself using the same paint as is on the objects. A major part of what I'm doing here is trying to figure out when something is sculpture, when the same thing isn't sculpture, how something can move in and out of the sculptural realm and how even the most mundane architectural elements can become crucial to sculpture. A piece of wood leaned against a wall generally isn't sculpture. If I give this piece of wood a very specific paintjob, one that blurs its materiality and creates a dynamic between it and the space in which it exists, it is more likely to become sculpture. A painted floor is generally understood as a surface. If I place a cement block on a white floor, and paint it and the surrounding floor blue, then the blue paint is read as a very thin object that drapes over the block and onto the floor (probably sculpture). All of my recent inquiries revolve around similar ideas and explorations. I use house paint and common objects that I have at hand: simple shelving, bits of wood or cement blocks. When I have figured out how to use a certain object, learned what works and doesn't work, I photograph the results and add the objects to my collection for future use. I am intentionally creating a sculptural syntax for myself, both through new discoveries and a deliberate simplification of my previous ways of working. This work ranges from colorful, immersive and exciting to bone dry and totally esoteric. My paintings and my work in Misty's Meadow go hand in hand, each informing and building on the other.
I also continue to rework and further explore other projects that I started several years ago. The Endless Picnic Tables, Then and Now is a collection of 160 18" long pine picnic tables that I have shown in many configurations. They are stored outdoors in between, weather in different ways and often need to be repaired with new wood before each showing. In this way they move between art and not art over and over again, and in either of these states retain relics from the previous state. I have a set of two 8' long pine ranch house frames that I use in the same way. There are many other projects, larger and smaller ranging from permanent outdoor installations that mark change over time to minute 3D prints. All add to my collection of specific types of inquiry and also to a growing collection of objects that are reworked, repaired and move in and out of art.