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art letter | no. 4. 2019 | march
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Please join Owen Carey and me for
Preview & Artists’ Reception
Wednesday, March 6, at 7:00 p.m.
First Thursday Opening, March 7 , 3:00 to 9:00 p.m.
David Slader, paintings and sculpture
Owen Carey, photography
at Gallery 114 |
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take up, put down
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On opening day, an art gallery should be a model of serenity: Every piece of art in its ordained place, at the ideal height, spaced proportionally in two immaculate white rooms.
There should be no hint that over the course of 24 hours, an entirely different show closed, was carefully dismantled, and the gallery walls patched and painted—after which two artists swooped in and (with family help) installed their signage, figured out what should go where, pounded nails, corrected for a few mistakes, leveled every last piece, and . . . whew.
InkBodySkinPaint+Fire is now up and ready to greet you. Learn more.
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a bit sketchy
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Early in a painting’s creation I make a quick sketch on a panel with paint sticks (an artist’s version of crayons). The sketch is the first step in an evolution toward more defined shapes and a broader range of color.
But, now and then, the painting says “stop”—and, complying, I scratch my name in the wet surface with a stout nail. This painting calls herself, “The cowcatcher on the train of commotion.” I have no idea where she came up with that, but she’s not the sort I’m going to argue with.
"Cowcatcher" is now on the west wall of Gallery 114.
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pride and countenance
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I have observed and admired Owen Carey’s photography for almost 30 years, and his portrait of my daughter smiles at me from my desk every day. Owen always seems to get to the deep core of his subjects as he does here with this portrait of Salim Sanchez, actor and photographer, projecting a countenance of self-contained pride.
This portrait joins the others in Owen’s body-ink series along with my paintings on view at Gallery 114.
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Art is where we
find ourselves
by losing ourselves
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