Saturday, September 17, 2011

September 16th through October 18th at Charley Hafen Jewelers - Gallery

The following fifteen pieces measure approximately 12x12 inches - $250 each.
 Above:  Sweat Equity No. 1 - $250
 Above:  Sweat Equity No. 2- $250
 Above:  Sweat Equity No. 3- $250
 Above:  Allium - SOLD (J.and K.H.)
 Above:  Beach Tide - SOLD (T.O.)
 Above:  Dreamt in Italian - SOLD (L.M.)
 Above:  Judy's Paintbrush - SOLD (K.C.)
 Above:  Lake Effect- $250
 Above:  Lost Pearls- $250
 Above:  Spring Rain- $250
 Above:  Suffering Happiness- $250
 Above:  Thank You, Mt. Etna - SOLD (D.S.)
 Above:  Todi - SOLD (S.and R.M.)
 Above:  View Through the Fence - SOLD (V.W.)
 Above:  Where Music Lives- $250

The following four pieces measure approximately 22x22 inches  - $725 each.


Above:  Six-string Incantations - $725
 
 Above:  Arriving At the Same Place From Every Direction - $725
 Above:  Pears in San Miguel - $725
 Above:  Spring City Fractured Landscape - $725

The four pieces below measure approximately 9 x 12 inches - $225 each.

 Above:  Cursive Is As Cursive Does - $225
 Above:  Don't Hide Them - $225
 Above:  Living in Acronymia  - $225
Above:  Patching the Infrastructure - $225

Sketch Pad Series - The following twenty pieces measure approximately 7x5 - $30 each.
 Above:  C-Major - SOLD (D.H.)
 Above:  Canyon Storm - SOLD (C.R.)
 Above:  CEG 12 - SOLD (S.M.)
 Above:  Deep 8/Octave - $30
 Above:  F-Major - SOLD (S.H.)

Above:  G-Major - SOLD  (K.C.)
  Above:  Letter D - SOLD (R.D.)
 Above:  Letter H - $30
 Above:  Letter R - SOLD (R.McA.)
 Above:  Letter Z - $30
 Above:  Quick Note - SOLD (K.C.)
 Above:  Road Trip - SOLD (T.& R.W.)
 Above:  Script Note - $30
 Above:  Steady Time - $30
 Above:  Freel Peak - $30
 Above:  Kenai - $30
 Above:  Rainier - SOLD (D.S.)
 Above:  Saw Tooth - SOLD (R.McA.)
 Above:  Shasta - SOLD (R.McA.)
Above:  Teton - SOLD (K.C.)


Calligraffiti - Toni Youngblood - September 2011

Along with my training in the tradition of representational drawing and painting, came rigorous design, analytical and critical dialogue.  I learned to work with many materials and techniques in art school and later in graduate school in architecture. 

During my painting studies, I chose elective courses in graphic design, which included the study of typography.  Each week was spent learning the characteristics of a different typeface by carefully drafting the individual letters of its alphabet.  The goal of this meticulous exercise was to facilitate the selection of appropriate typefaces for the design of graphic communication such as that used in advertising.  The character of a typeface communicates something beyond the written message and may either support the message or distract from it.  My interest in the imagery of the written and printed word is rooted in this early training.

After hand drafting alphabets in many typefaces, I have a great appreciation for computer typesetting and word processing programs, stencils and any other expedient tools and methods available to produce letters.  With this detailed practice behind me, I am in awe of the phenomenon that only a few shapes or pen strokes can create a letter or symbol that, when appropriately grouped, produces words that express ideas.  And I revel in the loose flowing motion of hand writing.

In three decades, my preference has evolved into using a broad brush and less literal technique.  Rather than represent only what the eye sees---a compilation of physical features---I am more interested in interpreting what I see and feel in its essence, its nature.  In music, it would be improvisation over straight melody. In some ways, I think this process is like designing a logo---paring down in graphic form the nature and essence of a business.

Beach tide as it glades across sand – Beach Tide, 2009

What I “see” when I close my eyes and listen to music – Where Music Lives, 2009

Cursive pen strokes of a hand-written message – Dreamt in Italian, 2009

A wave of bliss – Suffering Happiness, 2009

Mid-night rumblings of an active volcano on the island of SicilyThank you, Mt. Etna!, 2009

Warmth, texture and color of a favorite medieval Italian hill town – Todi, 2009

Calligraffiti is the continuation of a series of works I began a couple of years ago.  Those first paintings were composed of layers of acrylic paint using a mask or frisket of wax---applying a layer of paint, applying clear wax frisket with a brush or drip technique, then applying paint of a different color, then removing the wax at critical points in the process to reveal color layers beneath.  The resulting figures resembled written language in form, order and pattern. 
The more recent works which are shown in this exhibit are created with encaustic (color pigment mixed with hot beeswax and damar resin crystals for hardening) and compatible mixed media, such as oil pastel crayon, paper pieces, nails and other found objects.  Encaustic painting, as a medium, is over 2000 years old.
Toni Youngblood – Salt Lake City, Utah
Bachelor of Art – Painting, California State University, San Jose
Master of Architecture, University of Washington, Seattle

Also on display during the exhibit at Charley Hafen Jewelers - Gallery is the portrait commission I painted for musician David Halliday, Lionel Hampton & David Halliday, acrylic on canvas, 30x40 inches, 2011...


No comments:

Post a Comment

LIKE

LinkWithin

Related Posts Plugin for WordPress, Blogger...