To be in the presence of Matt Courtney’s ceramic art is to be embraced by a feeling at once familiar and unanticipated — a sensation that comes not only by directly looking, but also sensed, unsolicited, out of the corner of the eye. It’s a kind of well-being and heightened awareness that can happen while sitting outdoors, perhaps beside a percolating stream or a mile-wide river: small wonders, big sky. It’s all good. To continue reading, click here.
Every day in April, Philadelphia artist Christopher Wood drew a 9″ x 12″ version of a section of a birch tree as part of his Daydrawing series, and the thirty pieces are displayed together in the shape of a wall calendar in his show which just opened at the HOUSE Gallery. Each of the drawings are composed in graphite and charcoal on paper, creating sublime variations of gray tones. They are spare, serene, and wispy. The progression through the month is almost harmonic. The installation of them, as a unity, reads like a haiku. Unlike some of the other artists who have embarked upon one-work-per-day projects, these daily drawings seem to slow time down. Each of them reminds me of a detail from one of Emily Brown’s wonderful big heart-of-the-woods ink drawings, which you may have seen at Gallery Joe. To continue reading, click here.
[Roman visits House Gallery 1816 in Fishtown, Philadelphia, to talk with artist Brian Cote about his abstract painting technique and view Cote’s new 5th Street series. — the artblog editors]
It was bitter cold and the streets were empty, but the warmth of a modest crowd and delicious bean soup made for an intimate night of the arts.
Marcuse and Bermudez open their home to present the work of various artists and the many mediums of expression. It’s an atmosphere welcoming all who come. Brian John Cote, a resident of Fishtown, was the featured artist this night. His art has been exhibited in New York, Berlin, London, and at home in Philadelphia.
Cote has a unique approach and philosophy to his art of abstraction. He begins with a wood panel, applies paint, then adds polyurethane. He allows this to dry, sands the polyurethane, and applies a matte medium and begins the second painting layer. This process continues up to 30 layers, until Cote no longer needs to adjust the surface. Yet, the final layer reveals all the preceding layers through the evolution of the painting. To read entire article click here.
House Gallery – Renny Molenaar, Stacks Piles Accumulations Collections
Written and Photographed by Don Brewer
Renny Molenaar‘s solo show at House Gallery is mind-blowing, DoN asked the artist about the installation, “I’m a compulsive collector. All of the pieces in the show are inspired by repetition of color. I was playing with the Puerto Rican artist Miguel Pinero, the book Short Eyes, the first Puerto Rican play on Broadway, a movie came out after that. He was one of the writers for Miami Vice. He has a line where he’s talking about junkies that mentioned different kinds of rainbows in different color schemes. And I love that line, it’s fascinating. Brown rainbows and gray rainbows and vertical rainbows. And then I started doing rainbows with crack vials.” To read the entire article click here.