tag:blogger.com,1999:blog-56337338861924531052024-03-20T02:47:58.053-07:00Peter Roux ArtPeter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.comBlogger46125tag:blogger.com,1999:blog-5633733886192453105.post-44486732347191930482014-02-17T07:40:00.002-08:002014-02-17T07:47:23.091-08:00Please bore me with beauty...or, wake the f up, art world<div style="text-align: center;">
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When I was 19 or 20 I had a mean crush on a slightly older woman (she was 24-ish). An artist and filmmaker, Lindsay was cool and cynical, and I was in awe. She knew interesting people and seemed to continually hover on the verge of a new adventure. For some reason, she liked hanging out with me enough to occasionally drag me along on a few of her adventures, and I loved every second. Often, when faced with the drudgery of monetary transactions, she would reply simply, "don't bore me with cash". To my ears, this flat response to the issues-at-hand truly covered it all: we were above the boredom of daily routine, of matters of the practical and mundane. We moved in higher circles, and understood the world through deeper lenses. We were artists. Don't bore us with small facts like the need to pay for things. We search for bigger truth. Not like you, simple average person.<br />
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I pull this line out on occasion, typically in the context of dealing with the mundane yet consistent need to pay for stuff. Reciting it brings to me a smile and a warm memory...as I pull out some of that boring cash to purchase the things I need. I found a piece of the truth my younger self was seeking, and it involves (among other things) the need to pay for crap. It's just the way it is. It doesn't make any other high pursuit less real, honest, or important. But, I understand that I pursue in a world that likes to get paid. It's the common denominator we in our culture share.<br />
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This thought echoes, for me, an issue that I see running as a staple in the world of artists, art-making, and high-minded fine art-viewing/critiquing/buying/experiencing. The idea is this: art is about a search for truth, for a larger understanding of ourselves in relation to our world. As such, art seeks to find and illuminate truths, and artists must focus on this pursuit...even if it alienates some. After all, art isn't for everyone. As artists, we learn this in art school. We're special. We are the scouts, the pioneers, forging new ground by pushing envelopes, testing waters. Often, disruption/controversy/unsettling ideas/in-your-face facts= truth= art. It's a good measure for us in figuring out what is important to pursue in art, and what makes it good, right? Art shouldn't be about beauty. Art should be about TRUTH. Even if, and sometimes especially if, it makes the viewer uncomfortable. If it causes one to stop and recoil then, well, maybe we've got something.<br />
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I'm not writing to dispute that idea in and of itself. To be honest, I don't find fault in this perspective. Caravaggio painting saints with dirty feet was considered pretty dangerous and unsettling in its time, but hey, didn't their feet get dirty? Didn't we connect with them through their similarity to ourselves? Caravaggio found his truth, and it was considered blasphemous to some. I think art serves us well when looking down these roads, and it changes us. It is indeed, to me, one of the primary tenets of art's position in our lives: to open our eyes by illuminating new relationships of ideas, things, as we collectively work our way through the world and existence. Sometimes those relationships show us things about ourselves/our world that make us uncomfortable. It's important for us to see them.<br />
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However, it seems the message, both given to artists by the visual art world and also supplied by artists to the world itself, is that this is the measure of the truths we seek. In its entirety. Important art should not be beautiful. Beauty is old-school. Truth is ugly, or at least not beautiful. Otherwise it can't really be truth. Our world is ugly, anxious, unsettling. Nothing more or less. So, visual art shows us this. Nothing more (or less).<br />
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Funny thing, though...as we develop this criteria for visual art- and it permeates the art world, currently and for the past few decades- we seem to use slightly different criteria for other forms of art we seek to experience. Take music, as an example. Most people I know, myself among them, don't spend a great deal of time listening to music that unsettles them, makes them uncomfortable, rejects beauty in its search. This type of music exists, no question. But I find myself drawn to my search for truth in music, to a search for new meaning through new relationships, within melody, rhythm, progression, etc....things which serve to settle me in the pursuit. It feels good, in some way. Perhaps sad, maybe angry, maybe melancholy, but I'm not unsettled to the point of controversy or anger by its very structure. I don't get angry at the music I choose. I still, however, find it to be true (in its most elevated form, anyway). Why would we allow such in our pursuit of music in a way that is fundamentally different from what we would allow in our pursuit, or making, or visual art? Why must visual art be measured in such a fundamentally different format? After all, music and visual art both seek truth. Yet we allow beauty only in one.<br />
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When I say "we" here, I actually point my finger at the group of which I am a part: artists, and the art world...not the larger collective of our world in general. Here's the thing: I believe many people in the world actually DO allow for, and seek out, beauty in their visual art experience. Not ironic beauty, but earnest beauty. Beauty that makes one feel good. Beauty as reality, not escape. Or, maybe the majority of the people of planet Earth simply allow for escape in their art experience, as part of their understanding of it, and ultimately of truth. Makes sense to me. The world is harsh. It's also beautiful. Un-ironically. <br />
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The "we" of whom I speak are the ones with the problem. WE are the art makers, art critics...we in the visual art world. We who insist on defining what we do as the pinnacle of the search for truth, and within this search further insist that truth is at its most important when ugly/unsettling...that beauty as a pursuit or even a measure is beneath us, not "important" enough of a pursuit in art. Don't bore us in the art world with beauty. We seek higher truth.<br />
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Fuck that noise. If we in the art world continue to position ourselves within this dynamic, we will simply continue to build the dynamic that exists: that the "art world" knows better. If you don't get what is being done in the "art world", you're not serious or smart enough and don't deserve it. The "art world"'s importance can be measured by how hard it is to understand, by how small the circle of practitioners and viewers who do indeed "get it". Truth is hard, and intellectual...like the world. You don't get the work of Maurizio Cattelan? Don't get why a Koons porcelain sculpture of Michael Jackson with his pet monkey is important art? You like the paintings of Bob Ross? You dig artwork you see at the furniture store? Then you don't know real art.<br />
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Well... for many people, Bob Ross paintings are cool. These paintings make them feel good. Connected. It is both escape and truth for them...the truth that the world is theirs. Because it is. Just like it's mine. And yours. Beauty can be cool, and important. And truth. For its own sake. Not saturated in irony. A Gerhard Richter painting can be seen as a commentary on visual image-making. It can also simply be a beautiful landscape. Or abstraction. Or both. That neither reduces its importance nor does it tell the whole story. It simply is one of its things. An important truth, a truth we feel.<br />
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Again, I'm not arguing against the ugly, unsettling, controversial in art. Not at all...as reflections of our realities they are critical. We need to see ourselves, our world. Art can be that. But, if we as artists and art specialists continue to insist that beauty, without irony and even (gasp) for its own sake, can't be a part of "important" art because it is just not important or big <i>enough</i>, we will continue to alienate ourselves, the world in which we work and define ourselves, and our position in the larger context of our culture and society form that very culture and society. What good will it ever do to separate ourselves so much from the common denominator, the majority, of our own group of human beings? We will cease to identify. It's an idiotic approach.<br />
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If we continue to alienate people in our pursuit for high truth (because they just don't "get it"), we artists may soon find ourselves creating things for no viewers at all. The rest of the world will be too busy finding their truths somewhere else. <br />
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<br />Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com2tag:blogger.com,1999:blog-5633733886192453105.post-34373084090733577412014-02-05T10:54:00.001-08:002014-02-13T14:36:31.650-08:00The Way Light Falls no.6<u><i><b>The Way Light Falls (on things you cherish) no.6</b></i></u><br />
<b>2014</b><br />
<b>oil, acrylic on panel</b><br />
<b>60x50"</b><br />
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<b> </b><u><i><b> </b></i></u>Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-32159715538752452042014-01-28T09:48:00.002-08:002014-01-28T09:49:53.889-08:00Baer Whites: 3 a.m.<i><b>Baer whites: 3 a.m.</b></i><br />
<b>2014</b><br />
<b>monotype with oil and charcoal on paper</b><br />
<b>19x35"</b><br />
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<b> </b><i><b> </b></i>Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-76405141578680692882013-12-31T09:37:00.001-08:002013-12-31T09:37:24.354-08:00southern coast no.2<div style="text-align: center;">
<b>southern coast no.2</b></div>
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<b>2013</b></div>
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<b>oil on canvas</b></div>
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<b>24x24"</b></div>
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Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-71723756304151259222013-12-31T06:24:00.002-08:002013-12-31T06:25:00.296-08:00southern coast no.1<div style="text-align: center;">
<b>Southern Coast no.1</b></div>
<div style="text-align: center;">
<b>2013</b></div>
<div style="text-align: center;">
<b>oil on canvas</b></div>
<div style="text-align: center;">
<b>36x36"</b></div>
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<br />Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-82378091623231772552013-12-27T11:01:00.000-08:002013-12-27T11:01:03.284-08:00WORK-IN-PROGRESS<br />
(not part of the Iceland series)<br />
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southern coast no.1<br />
2013<br />
oil on canvas<br />
36x36"<br />
(including angled and detail view)<br />
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<br />Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-909422939159569912013-10-01T04:17:00.000-07:002013-10-01T04:19:48.403-07:00new workJust a bit about this piece:<br />
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A section of the title, <i>your hidden world</i>, speaks to an aspect of Iceland I really only began to appreciate and reflect upon after I had returned from my residency. Thinking back, I was struck by the feeling I still carry that Iceland- its people, its landscape, even its urban culture in Reykjavik- held secrets under the surface...things not easily understood, things not easily given up. I kept thinking about days spent in the north, traveling through the landscape: sparse, cool, minimal. It would be too easy, and very wrong, to assume that what you saw was all you got. I still now feel that things can be found by digging just a bit. The country has a rich history- a wealth of events, much to learn about. The people are intelligent, thoughtful, sophisticated...but you need to engage to truly feel the depth of all of this. Otherwise, the false impression can be had that the quiet of it all equals an absence of content. Not true, and such a mistake to believe. Firmly back in my life in the states, I'm still learning about the place, still uncovering the layers.<br />
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<b><i>Baer whites no.21 (your hidden world)</i></b><br />
<b>2013</b><br />
<b>oil, encaustic on panel</b><br />
<b>26x42"</b><br />
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<i>click on image to enlarge</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNnldADPiURJcQWhjBoS_xXoEbolTbxs_LTM-bhCMUX0rirA5gC0C4NYI83f5RErFv-wpendhyphenhyphen2NqrX2Ef78ZmJD92o-RW6SQ9b9nJAcp4MLJKLKyAaORRUnbPPbCKyqzqyXjuyWQ_m9k/s1600/Baer+whites+no.21-your+hidden+world.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNnldADPiURJcQWhjBoS_xXoEbolTbxs_LTM-bhCMUX0rirA5gC0C4NYI83f5RErFv-wpendhyphenhyphen2NqrX2Ef78ZmJD92o-RW6SQ9b9nJAcp4MLJKLKyAaORRUnbPPbCKyqzqyXjuyWQ_m9k/s400/Baer+whites+no.21-your+hidden+world.jpg" width="400" /></a></div>
Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com1tag:blogger.com,1999:blog-5633733886192453105.post-86519474605000348412013-08-21T06:49:00.002-07:002013-08-21T06:49:57.869-07:00older work<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-iUehm8N06KoXHCDGle02ol3qTNH685tSCYa1SlMvVXYtvVMWLWK4RTN_rFZN7Y8wWb2whkIbC2JJTLRnliFHCDCymQFrLS791PqmxI25bP7GxcAgHHtbELbwF69xb1OW7HeALG9XsKk/s1600/northern+fall+field+no.47+(800x563).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-iUehm8N06KoXHCDGle02ol3qTNH685tSCYa1SlMvVXYtvVMWLWK4RTN_rFZN7Y8wWb2whkIbC2JJTLRnliFHCDCymQFrLS791PqmxI25bP7GxcAgHHtbELbwF69xb1OW7HeALG9XsKk/s400/northern+fall+field+no.47+(800x563).jpg" width="400" /></a></div>
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norther fall field no.47 oil on canvas 24x30"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijvUEyJsLngC2baVErsJfiNIMvg9hQiqIKt5ymQwYHRErmcxsQrriASsHd43PSXinSbr_Hxo-nKXVRuzZwm5_Vh_EZiMegCGanQQQwyaw4d9gdd9ObXjd4lP4ObGMtBINU9nAXbiQiveA/s1600/Tisbury+pond+no.579.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijvUEyJsLngC2baVErsJfiNIMvg9hQiqIKt5ymQwYHRErmcxsQrriASsHd43PSXinSbr_Hxo-nKXVRuzZwm5_Vh_EZiMegCGanQQQwyaw4d9gdd9ObXjd4lP4ObGMtBINU9nAXbiQiveA/s400/Tisbury+pond+no.579.JPG" width="400" /></a></div>
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Tisbury pond no.579 oil on canvas 24x48"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxWW4fwvacxZJNBF4aG0LzfO42ai4SuerDd7mLjxAJhAtshvzi6IBiBxWeTnyDN1zlRlp7YNF_wBIjl3FYQderARmkCKGlLflh1NMxLtgfy3ApZODmANyoRL8icVpd5SLxRPxYz_3WXa4/s1600/Tisbury+pond+no.580.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxWW4fwvacxZJNBF4aG0LzfO42ai4SuerDd7mLjxAJhAtshvzi6IBiBxWeTnyDN1zlRlp7YNF_wBIjl3FYQderARmkCKGlLflh1NMxLtgfy3ApZODmANyoRL8icVpd5SLxRPxYz_3WXa4/s400/Tisbury+pond+no.580.JPG" width="400" /></a></div>
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Tisbury pond no.580 oil on canvas 24x48"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjexB_ZhGvIj8Jteo8Jmv-7NuSy7c3K8UaKaXk0mUv1Vi9-TZ0m-7Wn6YnDxxKomXNNy03uTb7iCv5U7KweMREq4XRwWp-36-RnI-OXpVPI9_bma3YU_UeffIT5Ud5_sUOy255o21FJGag/s1600/looking+south+no.1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjexB_ZhGvIj8Jteo8Jmv-7NuSy7c3K8UaKaXk0mUv1Vi9-TZ0m-7Wn6YnDxxKomXNNy03uTb7iCv5U7KweMREq4XRwWp-36-RnI-OXpVPI9_bma3YU_UeffIT5Ud5_sUOy255o21FJGag/s400/looking+south+no.1.jpg" width="400" /></a></div>
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looking south no.1 oil on canvas 30x40"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhCEDjZkrqv9_xEJzp5YXooxAzbuZOBFKm6YXdHvloHKxSXm9fCM4qwLDXJw0UNR1C1-8hp-4VhH1zQbG6Zr1lV-b73ltOwe0O7_HrzTXFdcIFCrTGx0L9EZHA0s-sta7DJbXAmAV1STE/s1600/morning+cove.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhCEDjZkrqv9_xEJzp5YXooxAzbuZOBFKm6YXdHvloHKxSXm9fCM4qwLDXJw0UNR1C1-8hp-4VhH1zQbG6Zr1lV-b73ltOwe0O7_HrzTXFdcIFCrTGx0L9EZHA0s-sta7DJbXAmAV1STE/s400/morning+cove.JPG" width="400" /></a></div>
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morning cove oil on canvas 30x40"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCTdPHQ0JY6zQxFdyQePlHz4EothcaXTeANpX285cZ5-4VTodq9E1Wms7WaigQY4OMjNDbD7q_Ayj-sivkfkWvD7ryyhOa1WF0xwf1c9vlGSGbmwzCkpFRMMVM16aUc7UY5IKRuWJvRUg/s1600/essexfieldeditno2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCTdPHQ0JY6zQxFdyQePlHz4EothcaXTeANpX285cZ5-4VTodq9E1Wms7WaigQY4OMjNDbD7q_Ayj-sivkfkWvD7ryyhOa1WF0xwf1c9vlGSGbmwzCkpFRMMVM16aUc7UY5IKRuWJvRUg/s400/essexfieldeditno2.jpg" width="400" /></a></div>
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essex field edit no.2 charcoal on paper 22x30"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNlgUPQ68ZfggpPgbwXu6bA0fWq6TWt090iKKwZm-MizEhzKffjLJBC99LrqKLWtlhCF9WFCKH_Pf2zl3P0ysWS_T9oNTYVCzI0oSO01tIJlazvnER3P1NYdvFJgf25jSI-GtrDHuRwSs/s1600/row127.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNlgUPQ68ZfggpPgbwXu6bA0fWq6TWt090iKKwZm-MizEhzKffjLJBC99LrqKLWtlhCF9WFCKH_Pf2zl3P0ysWS_T9oNTYVCzI0oSO01tIJlazvnER3P1NYdvFJgf25jSI-GtrDHuRwSs/s400/row127.jpg" width="400" /></a></div>
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row no.127 charcoal on paper 22x30"</div>
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Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-29862810684202166572013-08-10T11:21:00.000-07:002013-08-10T11:21:03.101-07:00new abstracts<b><i>Baer whites no.9</i></b><br />
<b>2013</b><br />
<b>oil, encaustic on panel</b><br />
<b>50x30"</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizq2euKk2-cgABhm9iRDjN25vfswaAgFIi2JbO5UlW23hYocba7-FCFtXmac9bsWJQTmn9EktGaTIK_m48MfWLEpHWizN2z8wMEAqY9YXqEykYOqzK7p8erY9z11aGSE6Nyh96WrqhAh4/s1600/Baer+whites+no.9.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizq2euKk2-cgABhm9iRDjN25vfswaAgFIi2JbO5UlW23hYocba7-FCFtXmac9bsWJQTmn9EktGaTIK_m48MfWLEpHWizN2z8wMEAqY9YXqEykYOqzK7p8erY9z11aGSE6Nyh96WrqhAh4/s400/Baer+whites+no.9.JPG" width="400" /></a></div>
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<b><i>Baer whites no.10</i></b><br />
<b>2013</b><br />
<b>oil, charcoal on paper</b><br />
<b>24x12"</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDaSgBUkGHIf8DjjS00JCLgFW3YWV5jJKEuofegozUxzpxTuK8pBrQdAA6KtLA85L_nXA-W5wC7vnRuAd2EG_HTbdu_upvz1CxyTP8PbrLr3egYVvWqcNGa3FmrmJFAcBl0q35VUjOxSk/s1600/Baer+whites+no.10.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDaSgBUkGHIf8DjjS00JCLgFW3YWV5jJKEuofegozUxzpxTuK8pBrQdAA6KtLA85L_nXA-W5wC7vnRuAd2EG_HTbdu_upvz1CxyTP8PbrLr3egYVvWqcNGa3FmrmJFAcBl0q35VUjOxSk/s400/Baer+whites+no.10.JPG" width="197" /></a></div>
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<b><i>Baer whites no.11</i></b></div>
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<b>2013</b></div>
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<b>oil, encaustic, collage on panel</b></div>
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<b>36x36"</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_BcBr6oqnu5X0f0IJoQsjOo366aoPp-mk88as0nrrygG01Un6GDN0jf29OzBQbaKXPzd6xwVvbJ8G6rEtT-PXODde1DEQSPgpGmv_6vmI2NeX6w6yb7NWXGrRUHCBC8OLQoGzrUHr9ao/s1600/Baer+whites+no.11-+revelation+story.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_BcBr6oqnu5X0f0IJoQsjOo366aoPp-mk88as0nrrygG01Un6GDN0jf29OzBQbaKXPzd6xwVvbJ8G6rEtT-PXODde1DEQSPgpGmv_6vmI2NeX6w6yb7NWXGrRUHCBC8OLQoGzrUHr9ao/s400/Baer+whites+no.11-+revelation+story.JPG" width="400" /></a></div>
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<b><br /></b>Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-44456389462547934242013-08-06T07:49:00.001-07:002013-08-06T07:49:47.845-07:00Baer: a fog of spirits no.5<b><i>Baer: a fog of spirits no.5</i></b><br />
<b>2103</b><br />
<b>oil on canvas</b><br />
<b>36x36"</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwzbgKckum_KAdwGe_BDgIDuwRF9ab1qxIbzTkET-BV7QWZpClI-tBgyrdtsBeYBqFD3ZlAoI4DtT269Ove_tOG6IgYc1x5cr2h_pjDnzDI6y4xUOdmmhge1Rhz5c5Twm7PaxJWD7qOu8/s1600/Baer-+a+fog+of+spirits+no.5.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwzbgKckum_KAdwGe_BDgIDuwRF9ab1qxIbzTkET-BV7QWZpClI-tBgyrdtsBeYBqFD3ZlAoI4DtT269Ove_tOG6IgYc1x5cr2h_pjDnzDI6y4xUOdmmhge1Rhz5c5Twm7PaxJWD7qOu8/s400/Baer-+a+fog+of+spirits+no.5.JPG" width="400" /></a></div>
<b><br /></b>Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-22819024408402292922013-07-28T16:27:00.002-07:002013-07-28T16:28:04.036-07:00Baer: a fog of spirits (no.2)<b><i>Bear: a fog of spirits (no.2)</i></b><br />
<b><i>2013</i></b><br />
<b><i>oil on canvas</i></b><br />
<b><i>24x24"</i></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOQ3r9Q4OHN1d2DDb9dxNkkK5gX6PwJo78HTK3mCMH7guwYPxwUIuAaJjPRdy-u6xDmtJ0Yju5TY75QIBfsFlvV-LzfiyLIxuJaaIintigaxj_bxjIS2Aoj3_JSKPUCDG47P9AcLbMqKw/s1600/Baer-+a+fog+of+spirits+no.2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOQ3r9Q4OHN1d2DDb9dxNkkK5gX6PwJo78HTK3mCMH7guwYPxwUIuAaJjPRdy-u6xDmtJ0Yju5TY75QIBfsFlvV-LzfiyLIxuJaaIintigaxj_bxjIS2Aoj3_JSKPUCDG47P9AcLbMqKw/s400/Baer-+a+fog+of+spirits+no.2.JPG" width="400" /></a></div>
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<b><i><br /></i></b>Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-80977585349391706512013-07-20T17:02:00.001-07:002013-07-20T17:03:04.895-07:00Baer: a fog of spirits (no.1)<b><i>Baer: a fog of spirits (no.1)</i></b><br />
<b>2013</b><br />
<b>oil on canvas</b><br />
<b>30x30"</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqtt3c-xVwrj2qffWJ3WyBiuzkFQCZgQtM0WAmPMrryNXCQsp2dqLPLRCHvVeDr2njsg0N_hh47usCSW1_G7UMwOPVzhbp1hPmnrYsgXezCkUrW1L-MpBONmSj_FcLYCr1W_nVzGmp-P4/s1600/baer-+a+fog+of+spirits+no.1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqtt3c-xVwrj2qffWJ3WyBiuzkFQCZgQtM0WAmPMrryNXCQsp2dqLPLRCHvVeDr2njsg0N_hh47usCSW1_G7UMwOPVzhbp1hPmnrYsgXezCkUrW1L-MpBONmSj_FcLYCr1W_nVzGmp-P4/s400/baer-+a+fog+of+spirits+no.1.JPG" width="397" /></a></div>
<b><br /></b>Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-30046929388123568552013-07-14T08:28:00.002-07:002013-07-14T08:28:45.158-07:00new work: Baer whites and greens as a continued response to the edge of the worldHome now, from Iceland, for over two weeks. The experience still buzzes inside me. I can finally sleep through the night- my body rhythms have been reminded of what evening darkness looks and feels like- and my senses have settled their resentment, as much as they ever will, towards the oppression of humidity. But still, Iceland buzzes.<br />
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A million tiny experiences, thousands of photographs. My work has been permanently nudged into another space. For now, the references, in the visual as well as the titles, reflect directly. I understand that this direct correlation will, ultimately, fall away with time. I'm buoyed by the knowledge that the buzz in the work will remain, and is now forever fixed in its sensibilities. This, I think, is what a residency is for. For new buzzes.</div>
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The work shown here was created- in a bit of a frenzy I suppose- in the two weeks since my return from Iceland. Allowing for a couple of days of sleep when I first returned, I've been working daily. I'm showing some of the results here, and writing just a tiny bit about them. As a matter of course I tend to avoid writing about my work. I used to do a great deal of it, but found I was constantly disappointed with the process...to the point where I began to question its usefulness. It struck me as a futile attempt to understand a language using another language. It would confuse me. I ultimately moved away from doing very much of it. In this case, however, the profound and rapid shift my work has undergone because of the residency has me thinking that a bit of writing might help me sort it out a bit. That, or it'll just confuse me again....yet to be determined.</div>
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The following work is coming together as series of its own, within the residency body as a whole. Prior to leaving for Iceland, a few friends made joking comments to me about how, given where I was headed, all of my work would now be variations of white. Of course, I knew this wouldn't be the case...Iceland in June is no longer blanketed in snow, and I don't tend to respond so literally to stimuli, anyway. Maybe if I were in Greenland.</div>
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But, here we are: I found the white, and this newest work uses white as a jumping point. There were snow caps on the mountains and stretches of it furrowed into the hanging valleys during the entire month, but most of the colors in the landscape were browns, blacks, greens, yellows. White, however, came at me from another direction: the light. The light of Iceland, at least during my stay in June, is whiter and cooler than any I have ever seen. It makes the outdoor light here seem yellowed by comparison. It is cool, stark, dry light...and all colors look different in it. I found this out when a painting I had created at Baer made its way to me in my first work shipment home. The colors, the relationships of value and hue, were completely different when viewed in the light of Massachusetts. Not worse, not better...just different.</div>
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I started thinking more directly about the white of northern Icelandic light...and then, just about white. After all, white is never just about white, especially in paint. To speak about cool white, one can, and should, utilize an arsenal. </div>
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<b><i>Baer whites no.1</i> oil, pencil on paper 17x12"</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6NUpB3zS2lsPf1zkpWFaNRs2-WF0_7oqQhtK3OwFwQ3kPgHFxf0ompslN1h67Iy6KUxasvSOv6uB1DnUgKgVtBPP0GX70Bcs8Upwrr0CPlKgshLo8Mwb7LAZd-XvUot7UA4fkob7NmUI/s1600/Baer+whites+no.1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6NUpB3zS2lsPf1zkpWFaNRs2-WF0_7oqQhtK3OwFwQ3kPgHFxf0ompslN1h67Iy6KUxasvSOv6uB1DnUgKgVtBPP0GX70Bcs8Upwrr0CPlKgshLo8Mwb7LAZd-XvUot7UA4fkob7NmUI/s640/Baer+whites+no.1.JPG" width="444" /></a></div>
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This work on paper is the start of that exploration. Although abstract, I realized after its completion that, above the black horizontal space, a faint dark form resembling a section of mountains was apparent; like a crest shrouded in fog or something. That reference was almost enough for me to take it out- to work it over to erase the reference, as would be my general tendency in abstraction- but I resisted. I'm still unclear if that was a good decision, but I want to let the process stand.</div>
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I also found that an interest in laying down dark in order to find the whites, through building. This not only allows for a base to explore texture above it, but it also becomes my foundation for temperature...whether by harmony or contrast. It's the idea, as well, of setting up a problem to solve: get to light by starting in the dark. </div>
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<b><i>Baer whites no.2 </i>oil, charcoal on paper 17x12"</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzGVGAH9G277mttCjOfsccuN2LfXScgAua9V82ty6bT3gBPBMZpu1IAe8_USUvf0ULjJIBl39ps9OHzkaWY_NKd7RYYpscBOKKW5tFkSOySCxk5F5ouxVaWBHU0f6dkkYn1ns0zHJxvvs/s1600/Baer+whites+no.2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzGVGAH9G277mttCjOfsccuN2LfXScgAua9V82ty6bT3gBPBMZpu1IAe8_USUvf0ULjJIBl39ps9OHzkaWY_NKd7RYYpscBOKKW5tFkSOySCxk5F5ouxVaWBHU0f6dkkYn1ns0zHJxvvs/s640/Baer+whites+no.2.JPG" width="417" /></a></div>
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Similar to no.1, but with more line work, and heavier movement. I also found blue hues in my darks. I dig that part, although blue is not the only direction in which I ultimately wish to head.</div>
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<b> <i>Baer whites no.3</i> oil, encaustic on panel 16x40"</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3RutEpErIZJETcrglIa2s7pViNvMGch3DeBEBX92cySiN_ToquMRE2j17BvK3-V_7Vw9OrR-KDM6LlRga-L-I8nG3spO4C9jmmAYUSoG52xzgttZrM2Y4qZ0TxOg30AXx8z4PnNwS5go/s1600/Baer+whites+no.3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3RutEpErIZJETcrglIa2s7pViNvMGch3DeBEBX92cySiN_ToquMRE2j17BvK3-V_7Vw9OrR-KDM6LlRga-L-I8nG3spO4C9jmmAYUSoG52xzgttZrM2Y4qZ0TxOg30AXx8z4PnNwS5go/s640/Baer+whites+no.3.JPG" width="640" /></a></div>
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This piece is larger: 16x40". It is a diptych, but the panels are flush to each other. Here, another problem set up to solve: fields of complete black (dark, dark grey actually) so absent of light that they threaten to suck any lightness from anything placed on or near them. Then, explore light. Fun. I like this piece a great deal. The rhythm is interesting, the formal structure is narrative in the loosest sense. The texture plays in and out between understanding surface and letting it have a language. It looks back at me with a solemn, contemplative response to being here...like maybe it's a bit pissed. In this piece, the encaustic is layered into the back, as a foundation, but still has a voice. The piece, for me, is colorful in its whiteness.</div>
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<b><i>Baer whites no.4</i> oil, encaustic on panel 6x30"</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNS61adDt_MjdD_7rpC-6q6jNuBuIwICgz0c6Bc1w1Y7R5wO5SG3Hg4IT3-qA1Byo1h4MCIbvJVdwpgvh5K7AYarGLoZh1R54dk2iBvJb9xpx2keWtlAeZovfxebAd7BC94Mvb3gD2_Pc/s1600/Baer+whites+no.4.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="77" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNS61adDt_MjdD_7rpC-6q6jNuBuIwICgz0c6Bc1w1Y7R5wO5SG3Hg4IT3-qA1Byo1h4MCIbvJVdwpgvh5K7AYarGLoZh1R54dk2iBvJb9xpx2keWtlAeZovfxebAd7BC94Mvb3gD2_Pc/s400/Baer+whites+no.4.JPG" width="400" /></a></div>
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Here's my unsteady friendship with this piece: long horizontal spaces, in our western eye, so easily read from left to right: cause and effect, start and finish, before and since. I both like that dynamic but also find myself wanting to break it...or at least muffle it a lot. But, I still find myself coming back to this format. Maybe I'm a glutton for punishment, but I really like the challenge. The black area on the left begins the dialogue with the remainder of the sections of form and space...which is probably what I like the most. The green is the most blatant hue switch in the series to this point, and I also find that interesting. The photo of this piece, which could be much better, still runs too blue, particularly in the whites...something I have been trying to avoid too much in the work itself. These whites, in person, are less blue. For me, blue wishes to speak too naturally in cool whites, so I don't want to give it any more help. In fact, finding a cool white range while staying completely away from blues is an uphill challenge, and I like that.</div>
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<b><i>Baer whites no.5 </i>oil, encaustic on four panels 16.5x16.5" total size</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwA3iz3BOU89WXgPv4c-d5X5ICf3Buf44uWqJsLb45RDk3mhrnhZi6B6lpfKMIOEdqIuJnlpsO60TfOnuug-Xc7NPnNSYcxrm4GCGiQrCgBCjkMDnVVviU9RvJ_a6OVeJLV6q9CZPGdMU/s1600/Baer+whites+no.5+2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwA3iz3BOU89WXgPv4c-d5X5ICf3Buf44uWqJsLb45RDk3mhrnhZi6B6lpfKMIOEdqIuJnlpsO60TfOnuug-Xc7NPnNSYcxrm4GCGiQrCgBCjkMDnVVviU9RvJ_a6OVeJLV6q9CZPGdMU/s400/Baer+whites+no.5+2.JPG" width="400" /></a></div>
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Here's a better example of moving away from cool into warm, to find cool. I love ochre yellow...it's one of my favorite warm colors. I also saw so many variations of it in the landscape in northern Iceland...rather unexpectedly. Again, I tend to shy away from too many literal pulls from a space, so I tread softly. However, as a counterpoint dynamic to find white, I loved using it here. I also brought in a collaged layer of written form, buried beneath the yellow layers. It's actually a section of a newspaper from Iceland- I thinnk it's the obit section, but I might be wrong- and was part of my packing material for shipping work home. My relationship with direct collage has always been distant...it's something I utilize infrequently, since it can be so content-loaded from the start. But here, I like how it works as more variations of whites and texture. </div>
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I began this piece as a four panel horizontal...so here is a great example of how I needed, in the end, to break the left-to-right narrative structure. The painting was struggling, and then I pulled the elements together as a grid, and it began to have a voice.</div>
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<b><i>Baer greens no.1 </i>oil, charcoal on paper 20x12"</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9YaA5aWJ3JQYnyvsPraO6XyvllZpbat7Hl9b_qHh4gG0ixIS7bjXZaHGDqOBVRUlAZDHTgtG0QmOu4YRuuPPdN9sHnnxvx4LE2fVgYLWBTNdtY7wtSsbhZvZdTQxmw3Ss94jQyuOD36Q/s1600/baer+greens+no.1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9YaA5aWJ3JQYnyvsPraO6XyvllZpbat7Hl9b_qHh4gG0ixIS7bjXZaHGDqOBVRUlAZDHTgtG0QmOu4YRuuPPdN9sHnnxvx4LE2fVgYLWBTNdtY7wtSsbhZvZdTQxmw3Ss94jQyuOD36Q/s640/baer+greens+no.1.JPG" width="368" /></a></div>
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OK, so here, obviously, I moved into a major hue shift...so much so that a new title direction was necessary. Still here, though, the whites are the goal for me. No real bright white to be found in this piece, but who knows where the next "green" piece will take me. I cropped this piece twice before I found the structure it needed.</div>
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So, there it is...the Baer whites, thus far. I'll continue to post the new work here as it is completed.</div>
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Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-59757399879487413662013-06-27T15:13:00.001-07:002013-06-27T15:13:20.964-07:00The Baer show, heading home...I'm sitting in a flat in Reykjavik on Thursday evening, June 27, after a lengthy bus trip from the north. I left Baer late this morning...the first of the five artists-in-residence to leave. Not a badge I wear by choice, but a necessary distinction, as my flight for home leaves tomorrow at 5:25pm, and coordinating all of the bus trips (2-3, depending) to make it to the Keflavik airport from Baer on Friday allowed no room for error. I decided it would be more prudent to leave a day early, plant myself in Reykjavik for the evening, and head out the next day with plenty of extra space-time.<br />
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The downside, of course: I left Baer today. Reluctantly. While the prospect of heading home to see the people (and three-legged dog) I miss is an exciting one, I leave behind a place, and group, responsible for an experience unlike any I have had. More about that in a bit.<br />
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Last night we showed our work, together, at an Open House/reception...the culmination of the month's art-making efforts. These shows are held at Baer at the end of each residency month, and are well-attended by so many in the area. Last night was no different. Lots of people came to the Art Center to view our work, placed and hung in both our studio spaces as well as the large barn gallery at the end of the building. The work looked great, and this was our first, and only, opportunity to see it all together in one sequence of spaces. now it all travels...to Germany, Denmark, and three separate locations in the US (maybe more!) <br />
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We spent the day preparing, and the evening socializing...and then celebrating. We met some great people, both from the area( farm families, fishing families, friends of friends of friends) as well as a few artists-in-residence at other programs nearby (yes, for a sparsely populated part of a sparsely populated country, there are four artist residency programs within an hour or so...none as good as Baer, of course:)). <br />
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It was an evening of good conversation, new friendships, and great feedback. A warm collective to end our month. After the throngs departed, the core group- we five artists, the folks who work at Baer, and Steinunn and her husband- all sat down for a few hours of wine and wind-down. I hit the bed at...I don't know...3am? Still light out, of course...</div>
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The crew around 11 or 12 midnight:</div>
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This morning was melancholic: packing, goodbyes, final look-rounds at the wonder of the area. A heavy morning wind, accompanied by drama-laden skies, gave me quite a stage for goodbyes. As is often the case with meaningful experiences, there is a potent mix of sadness and joy upon leaving it. That's today's theme. I feel it, as I sit in Reykjavik. I know we, the artists and Steinunn, will stay in touch. I will also be seeing Steinunn in October when she comes to Boston for a conference. And, I intend to return: to Iceland, and to Baer. It's now, in some tiny but significant way, in my blood. <br />
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I've now caught the artist residency bug.<br />
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<br />Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-46133382908417653952013-06-25T13:51:00.000-07:002013-06-25T13:51:14.886-07:00Baer no.4<b><i>Baer no.4</i></b><br />
<b>2013</b><br />
<b>oil on canvas</b><br />
<b>8x8"</b><br />
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<br />Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-29355570993956675852013-06-25T13:42:00.002-07:002013-06-25T13:42:17.039-07:00edge of the farm- Baer<b><i>edge of the farm- Baer</i></b><br />
<b>2013</b><br />
<b>charcoal on paper</b><br />
<b>30x53"</b><br />
<b>(plus detail)</b><br />
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<b><br /></b>Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-80390856361723149472013-06-25T03:48:00.002-07:002013-06-25T03:48:41.801-07:00show going up, trip winding down...It's Tuesday, June 25, 10:00 am. As the end of my month-long residency here at Baer draws near, our group of five artists are preparing to hang a show of our work in the gallery area of the studio building. This Open House show takes place tomorrow night from 8-10pm., and Steinunn has listed the event in a local publication, and posted announcements in the area. Each Baer residency group shows their work in this fashion, and these events have caught on quite well, so we are all looking forward to meeting more neighbors, friends and visitors in the area.<br />
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With the show looming, I am on a final push to finish a larger-scale drawing in time to hang my work. I'll work on it through today, and cross my fingers that I can get it to a resolved state by tomorrow morning. This may be the one time where the midnight sun, and the sleepless nights it facilitates for me, may work to my advantage. It won't be the first time I've stumbled into my studio at 3am to draw, paint...or just stare at my work.<br />
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I cannot begin to describe this experience...so I'm reluctant to even make an attempt. This is the first artist residency I've ever done...but after this, I'm hooked. I want more. I've been warned by the other four resident artists- all veterans of residency grants- that this particular one has set the bar quite high...it's been one of the best each has ever experienced. They've cautioned me to not expect them all to be like this! But, I don't care. The time and space to work, in a unique environment- away from the familiar...that's what I've loved the most. Posh, rustic, large, small...bring them on. I've loved how this experience has changed the way I see, and think...and that can happen when you can focus, uninterrupted with no distractions, on your work. I crave more. My work demands it, I think. Where to next...?<br />
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Our final group excursion: We spent Sunday morning on a boat, touring the local coastline. A beautiful day. We were able to see the Art Center and this entire now-familiar-to-us area from a different perspective. The epic nature of the space, and the islands just off the coast, came into clearer view from this vantage point. And, basalt rock formations abound.<br />
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We spent some time circling the small, isolated islands off the coast...including Drangey Island, a favorite for birds in the area. So much so that one side (the northern side) is bleached with white- specks of white as well as large swaths of whitewashed rock. The specks are birds...the whitewash: bird poo. <br />
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Upon our return swing back to the Harbor in Hofsos, we encountered what we had hoped to see, but can be fleeting to the eye: whales. In the distance at first, then alongside our boat for a brief moment. </div>
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I was even able to grab a few seconds of video during our whale encounters: <br />
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A truly wonderous experience.</div>
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But enough of this. I have a drawing to attack...</div>
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<br />Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-62907048857416438942013-06-24T15:43:00.001-07:002013-06-24T15:43:22.956-07:00work-in-progress: edge of the farm- Baerwork-in-progress<br />
<b><i>edge of the farm- Baer</i></b><br />
<b>2013</b><br />
<b>charcoal on paper</b><br />
<b>30x5</b>3"<br />
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<br />Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-4740805034593984602013-06-23T09:32:00.001-07:002013-06-23T09:32:20.225-07:00gesture in a midnight sun/isolate<b><i>gesture in a midnight sun/isolate</i></b><br />
<b>2013</b><br />
<b>charcoal on paper with tissue</b><br />
<b>18x30"</b><br />
<b><br /></b>
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<b><i><br /></i></b>Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-15910191198328179362013-06-22T05:11:00.001-07:002013-06-22T05:11:07.183-07:00road to Holar<b><i>road to Holar</i></b><br />
<b>2013</b><br />
<b>oil on canvas</b><br />
<b>35.5x35.5"</b><br />
<br />
(plus studio view and two details)<br />
<br />
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<br />Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-35134363935855583122013-06-21T15:38:00.000-07:002013-06-21T15:38:07.529-07:00work-in-progress: road to Holarwork-in-progress:<br />
<b><i>Road to Holar</i></b><br />
<b>2013</b><br />
<b>oil on canvas</b><br />
<b>35.5x35.5"</b><br />
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<br />Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-49171166130989619312013-06-20T07:04:00.001-07:002013-06-20T07:04:09.241-07:00work-in-progress: Reykjavikwork-in-progress:<br />
<b><i>Reykjavik</i></b><br />
<b>2013</b><br />
<b>oil, tissue on four panels</b><br />
<b>8x33.5"</b><br />
<b><br /></b>
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<b><br /></b>Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-91059666465705713412013-06-19T05:23:00.000-07:002013-06-19T05:23:40.315-07:00The downside of this trip...I've now been at my artist residency at Baer Art Center, in northern Iceland, since June 3. It has held more wonder for me, in every conceivable category, than I could ever have anticipated...and I anticipated a lot. The landscape, the light, the people (the director and those who work here, the locals, the other artists), the uninterrupted work time, the general inspiration...it changes someone, in small ways that begin to add up. I am so very lucky to have been offered this opportunity.<br />
<br />
All of that said, there is one drawback, one area of continual battle, that I've faced since my arrival: the ability to sleep. It is midnight sun season here, and we're approaching the longest day of the year, on Friday. On a day with clear sunny weather, the light shines for almost 24 hours straight. We've been blessed with clear, dry weather on most days thus far, and that translates into sleepless nights as my body and mind fruitlessly attempt to understand that, hey, it's nighttime. The windows are equipped with black-out shades, and they work pretty well. However, a bit of light still sneaks past on all edges of the shades, illuminating the room <i>just</i> enough to confuse my mind, and my sleep patterns. An overcast day/night is a bit darker, and a bit easier, but with the clear weather we've had, most nights have been a sleep struggle.<br />
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<div style="text-align: center;">
an evening view.</div>
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No huge surprise, I suppose: coming from solid dark at night to virtual round-the-clock sun will mess anyone up, at least a bit. I never anticipated, though, the limited amounts of sleep my body is allowing here. I have been averaging about 4 hours per night, and much of that is restless. Fortunately, I am so taken with everything- sights, sounds, the work I'm doing- that my waking hours seem less fatigue-filled than I would have thought them to be under these conditions. My studio is connected to my bedroom, so I stumble out of bed and into work...sometimes at 3am. The line between work time and sleep time is heavily blurred.<br />
<br />
So, it continues. Today is overcast, so I'm hopeful that tonight might be one of the easier nights. We'll see. However, I predict I may continue with sleep struggle for the duration. I can handle it...small price to pay for being here, truly.<br />
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I may, however, sleep for a week straight when I return.Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-59880354784542988672013-06-19T04:19:00.003-07:002013-06-19T04:19:53.500-07:00Baer no.3<b><i>Baer no.3</i></b><br />
<b>2013</b><br />
<b>oil on canvas</b><br />
<b>12x12"</b><br />
<b><br /></b>
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<b><br /></b>Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0tag:blogger.com,1999:blog-5633733886192453105.post-75885032346497484152013-06-18T11:27:00.001-07:002013-06-18T11:27:17.420-07:00work-in-progresswork-in-progress<br />
oil on canvas<br />
15.5x24"<br />
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<br />Peter Rouxhttp://www.blogger.com/profile/05694730126848745206noreply@blogger.com0