I guess I can finally share my pieces from the Iceland Residency Exhibition at Light Grey Art Lab! Here’s my little blurb from the show, so I don’t have to write it out all over again:
“I love weird landscapes. I love inscrutable waterfalls, I love columnar basalt, I love incomprehensibly massive glacial tongues and unexpected volcanic activity. I love all of this stuff, and so it frustrates me to no end that it’s so rarely reflected in my own work. I spend most of my time (both professionally and personally) designing characters and costuming, so this show seemed as good a chance as any to step out of my comfort zone and focus on honing my landscape painting skills. Hard to go wrong with Iceland in the landscape department.
I did a few plein air studies while on-site in Iceland, but most of my time during the residency was spent just taking photos and trying to absorb the scenery. I ended up with ten finished paintings, and tried to focus on some of the imagery during the trip that really stuck with me – the acidic green mosses, the almost eternally overcast sky, the force of water, the semi-abandoned structures. As much as I enjoyed the scenery, it’s not hard to admit that I enjoyed the people even more; this residency wouldn’t have been half as worthwhile if it weren’t for the amazing and talented people I got to spend it with.”
You can check out the rest of the show here, and purchase prints in the LGAL store!
Last week, I visited the beautiful gardens at Nymans, a National Trust spot in the West Sussex countryside that has stood as an inspiration to landscape artists since the late 19th century. I took some photos with my brand new iPhone - getting a little carried away in the rose garden - and saw my old life-drawing teacher painting in the outdoor studio. Afternoon tea in the cafe rounded off a very English afternoon. No breaking of cultural stereotypes here.
Missouri based artist Adrian Cox’s fleshy “borderlands” and their inhabitants may look off-putting and weird, but there is also natural beauty to be found in this imaginary world. His oil paintings, works on paper, and sculptures are all treated with the soft touch of 19th century Romantic landscape painting. Previously covered here, Cox’s human-like subjects called the “Border Creatures” have been compared to David Lynch’s Elephant Man; abstract lumps of skin and muscle with vague features. His latest series introduces new characters, “gardeners,” the caretakers of glowing mounds of birds, bugs and snakes.