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October 10, 2013

RAD-ical - John Bryant - Austin, TX


John Bryant, Austin, TX
Full Beard 
RAD-ical series
Quartet #4
36" x 36"
Oil on Canvas


John Bryant, Austin, TX
w/ Serious Mutton Chops + Handlebar
RAD-ical series
quartet #4
36" x 36"
oil on canvas


John Bryant, Austin, TX 
w/ Chops and Lars Le Viking
RAD-ical series
quartet #4
36" x 36"
oil on canvas



John Bryant, Austin Texas 
w/ Chops and Lars Le Viking
RAD-ical series
quartet #4
36" x 36"
oil on canvas



John Bryant - Austin, TX 
RAD-ical series 
quartet #4
w/ Serious Mutton Chops + Handlebar
w. Chops + a Howie 
w Chops and Lars Le Viking
w/ Full Beard
36" x 36" each
oil on canvas


RAD
DUDES...how cool are you with your hipster do, your mutton chops, your fu manchu? Do you ROCK a BEARD? Do you grow a GOAT...or sport a lil SOUL? Will you let me document you in 4 different styles? Let me paint you and add you to my series. Now thats cool! 

Email me for more info.

The act of modifying one’s face to meet a standard of appropriateness by shaving is not so different than other forms of body modification...it is just one that majority has adopted as professional, aesthetically pleasing and/or appropriate. Throughout history men with facial hair have been ascribed attributes with polar opposite distinctions; on one hand being wise, virile, masculine, holy and on the other; wild, untamed, dirty, of ill repute, or a part of a sub-culture and/or radical intent. It is the very notion of what is defined as being “radical” that intrigues me. On one side you have men in radically conservative and/or religious cultures such as; Amish, Mennonite, Hassidic Judaism, Islamic and Muslim followers, and Sikhs who grow beards as signs of holiness and reverence. On the opposite side of the spectrum you have men in in subculture contexts like; bikers, hipsters, rockers, hippies, bears, tree huggers, people of the streets and even academics. Whether conservative or liberal, both sit on opposite sides of of males representing the “mainstream” e.g. from doctors to lawyers or bankers to Mormon Missionaries. The Corporate America “clean” cut look has been adopted as what is becoming, professional, and aesthetically appropriate. For this reason I have become intrigued by those who sport a beard for my series RAD (short for radical).If you are a dude and are wearing a beard and are willing to modify or document the growth from a clean shaven face to full growth...or if you change the style and are willing to document it for me...please email me to contribute to the project and I will add your face to my RAD series.All you brothers out there...I need a minimum of 4-8 versions of beards per dude. Pics need to be taken in a mugshot (no smiles/emotions) pose...frontal with no variance and need to be consistent with all four-8 styles or versions of facial hair. Just look at these paintings for a reference. These can be head shots...or full chest and head shots if you have tattoos or piercings.They will hang in groupings of 4 per subject."LEND ME YOUR bEARds…show me your RADical"

October 7, 2013

RAD-ical - Mathew Samuel from Kutztown, PA


Matthew Ivan Cherry
Mathew Samuel alla Fidel
RAD-ical series (from quartet #3)

2013
oil on canvas
36" x 36"




Matthew Ivan Cherry
Mathew Samuel w a Lincolnic + Chin Curtain
RAD-ical series (from quartet #3)

2013
Oil on Canvas
36" x 36"



Matthew Ivan Cherry
Mathew Samuel w a Trident - Fu Manchu + Extended Chin Tuft
RAD-ical series (from quartet #3)

2013
Oil on Canvas
36" x 36"


Matthew Ivan Cherry
Mathew Samuel w a G Michael
RAD-ical series (from quartet #3)

2013
Oil on Canvas
36" x 36"

-*-

RAD
DUDES...how cool are you with your hipster do, your mutton chops, your fu manchu? Do you ROCK a BEARD? Do you grow a GOAT...or sport a lil SOUL? Will you let me document you in 4 different styles? Let me paint you and add you to my series. Now thats cool! 

Email me for more info.

The act of modifying one’s face to meet a standard of appropriateness by shaving is not so different than other forms of body modification...it is just one that majority has adopted as professional, aesthetically pleasing and/or appropriate. Throughout history men with facial hair have been ascribed attributes with polar opposite distinctions; on one hand being wise, virile, masculine, holy and on the other; wild, untamed, dirty, of ill repute, or a part of a sub-culture and/or radical intent. It is the very notion of what is defined as being “radical” that intrigues me. On one side you have men in radically conservative and/or religious cultures such as; Amish, Mennonite, Hassidic Judaism, Islamic and Muslim followers, and Sikhs who grow beards as signs of holiness and reverence. On the opposite side of the spectrum you have men in in subculture contexts like; bikers, hipsters, rockers, hippies, bears, tree huggers, people of the streets and even academics. Whether conservative or liberal, both sit on opposite sides of of males representing the “mainstream” e.g. from doctors to lawyers or bankers to Mormon Missionaries. The Corporate America “clean” cut look has been adopted as what is becoming, professional, and aesthetically appropriate. For this reason I have become intrigued by those who sport a beard for my series RAD (short for radical).If you are a dude and are wearing a beard and are willing to modify or document the growth from a clean shaven face to full growth...or if you change the style and are willing to document it for me...please email me to contribute to the project and I will add your face to my RAD series.All you brothers out there...I need a minimum of 4-8 versions of beards per dude. Pics need to be taken in a mugshot (no smiles/emotions) pose...frontal with no variance and need to be consistent with all four-8 styles or versions of facial hair. Just look at these paintings for a reference. These can be head shots...or full chest and head shots if you have tattoos or piercings.They will hang in groupings of 4 per subject."LEND ME YOUR bEARds…show me your RADical"

September 5, 2013

a nipple a nuk and a navel orange (contemplating one of my oldies)

a nipple a nook and a navel orange - matthew ivan cherry
a nipple a nuk and a navel orange
72″ x 72″
1998
- * -
nipples, and nuks and navel oranges
(trying to make sense of one of my early narratives)
by
- * -
This is one of my earlies
back when I understood my world
and my place in it
and where I was going.
Back where my assumptions
foretold the great ass you would make of me
and I of us too.
Back when our bed was so holy
and I so horny
and you so fatigued.
Back when the 1st, 2nd & 3rd parties
were introduced
to our coupledom
and the 4th, and 5th as well.
Back where your real unquenchable thirst
was first demonstrated
to my great unawares.
Back when I was naive
and we were primitive
in our thinking
and so brutally unaware.
I was so eager to get naked with you
and satisfy your tired needs
eager to bring forth my seed
and provide that which you were willing to bleed for
over and over again
so desperate to see you pleased.

From our one bed came plenty
a measure of our love
and despite our inability to continue
will continue in our stead
and in lieu our great vacancy
proxy parents by default.
And you  …
you were so tired
sacrificing your body
and time
and sleep
and sanity
despite my need to have you.
You were so divided by your desire
to appease
the many needs of your progeny
and me
that at times it was all you could do
to crawl out of bed
and lift your tits to succor one of mine
and so I waited at the back of your lineup
and our many
to share your love
until you were no longer able to share it with me.
And now
that you are away
leaving me for your other
you have never looked
more beautiful
more strong
more self aware
more happy
… without me.

August 24, 2013

Covenant

Covenant - Juliette Aristides
Covenant
by
Juliette Aristides
- * -
“Its impossible
to walk through this life
making naked promises and oaths
together
with your eyes closed
because when you do
even when holding a hand
you are still alone.”
- Matthew Ivan Cherry

Twp Figures Lying in a Shallow Stream

philip harris - two figures lying in a shallow stream
philip harris
two figures lying in a shallow stream
72 x 48
- * -
reminiscing
you + me swimming in a Philip Harris stream
by
We were always alone in our togetherness.
YOU
all costumed in your ideal
wrappings
ready to put on
ready to party
pitiful
when things didn’t go
just as you’d planned
parenting
filling your uterus full
with a void
being your easy fix
but never quite fulfilling
your vagina
nor your desire
for the nostalgia
of what you would soon
abort.
Yet
you were always there
ever present
tucked away
by my side
somewhere
distant.
I still love you.
ME
with my arm and hand
and hammer
held to the forever square
stout
but with naivete
and my limp attempts
to shield you from your storms
and the downpour of my delusions
while navigating our
together-course
still juggle-balancing
my desire to breath free
shed my skin
and swim naked
in the very air that afflicted
our ability to float.
I just wanted
you
to touch me
and reach around
to wrap
yourself
in my flesh.
Do you still love me?
WE
swam the shallow stream
like olympians
treading our waters of obstacles
hurdles
strife
and challenges
that test-proved our friendship.
We sloshed through our dreams
more crystal clear
than our reality
ripe with all of the filth
that filled us to overflowing
capacity
and more
to where
we could no longer
glimpse our couplet-potential
which caused you to let go.
In silence
we submerge
into our own state of solitude
together lonely
still in glimpse of the other
and our ability to grasp
one another
yet unable
to hold on
so we look
away.

August 20, 2013

significant other

house of cards

Patrick Earl Hammie

SIGNIFICANT OTHER

July 26 – August 31, 2013

GREYMATTER GALLERY

207 E. Buffalo St.
Suite 222
Milwaukee, WI 53202
aureole
labor I
nightwatch
- * -
While I have not seen this body of work in person, I participated in an exhibition with Patrick earlier this year at the Zhou B Art Center in Chicago.  The exhibition entitled From Motion to Stillness was co-curated by Didi Menendez, Publisher, Editor and Creator of Poets and Artists and Sergio Gomez, Gallery Director of the Zhou B Art Center.  Patrick chose to exhibit his work from his series Equivalent Exchange in which he resides on a high pedestal using his own nude figure presented as a sculptural form in semi-classical or traditional nude figure poses as if stepping onto a stage in order to be drawn or painted by a class full of students or in context of the exhibition, an audience of public gallery-hoppers. His work makes a powerful human connection utilizing masses of bodies and fleshy paint, usually composed in larger-than-life scale and mostly with singular and double bodies as the main source of content.
His work touches on power, identity, race, gender and politics.
While his new work in Significant Other strikes a cord with these themes they also seem to amplify his progressoin in tackiling larger narratives within the western canons of life, death, and mortality, while also addressing very contemporray issues of race, gender politics, domesticity and relationships.
Indeed, I see many of these pieces as being a contemporary and domestic representation of the ELEVATION and the DESCENT from the cross.
300px-Peter_Paul_Rubens_068
In all four (4) of Hammie’s images (posted above) ordered only for my particular translation and no other purpose, we see references to a female figure who is in various states of holding, mourning and struggling with the body of her male counterpoint.  Both figures are nude and reenact what may be perceived as a great physical and spiritual struggle of holding on or letting go as one’s love or life transitions away from the other (in death or otherwise).
In House of Cards we are brought in close and tight as the two figure struggle through a sort of contemporary dance.  A moment and movement caught from a low vantage point allows you to travel up the male form past his manhood stretching over the breadth of his chest where his meets hers and then deep into a pocket of the female form under her right breast and arm which suspends his dead weight. In fact you lose the male head/identity almost altogether and in its place the woman’s head is centered as she reaches over and through and down carrying his body weight.  With Herculean strength and as the solitary “living” figure she is solely focused on the sacred deposition.
(think Jacopo Pontormo)
images
Descent from the Cross
oil on canvas 1526-1528
313 × 192 cm (123.2 × 75.6 in)
- * -
Aureole presents us with a modern Pieta.  The triangular composition is made more complex with the male figure lying frontal like a facade or a bas-relief anchoring the full breadth of the lower canvas. The female form reaches over the male figure, her right arm on his chest, her hand touching his breast and shoulders forming a square through which with great concern she seeks his attention and life and care.  His body still serving as an anchor from where she stabilizes her form and reaches while her other arm is in an act of compassion and touch.  His sleep implies death, but his genitalia and the shadow that stretches up his lower belly implies life and resurrection .
- * -
Labor I  provides us with perhaps the most distant narrative of the 4 compositions.  The male body has already been laid out, straightened and made to be wrapped. He extends at a slight angle from the lower left side of the composition and narrowly skims the bottom of the canvas.  There is a thrust of his arms that reaches up to hers through an extension, and seemingly a last breath, as she continue to prepare his body.  She extends from his tangled arms reaching up, attempting to stand, but still in the act of letting go, and/or preparing for his deposition.
- * -
In Nightwatch, the woman looks outside the canvas (the only of the 4) as if to plea for assistance from some onlooker, while the male has already transitioned to a sleep with just his head and shoulders residing in the bottom leftt corner quadrant of the canvas.  He is aglow in the light and slumber of his peace while the female figure struggles alone forming another pyramid that anchors the composition and allows us to arch and rise into her form and lonely trial.  All of the heat pulls into her centered form and the cool cold reality engulfs her past and future.