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Showing posts with label City Lights. Show all posts
Showing posts with label City Lights. Show all posts
Wednesday, October 18, 2017
You Are Invited to Gregg Chadwick's Studio
Tuesday, September 11, 2012
Tomorrow and Thursday in Nor Cal: The Painted Word Book Tour
I am honored to announce the publication of my latest collaboration with the author Phil Cousineau:
The Painted Word.
The Painted Word.
Sixty-three of my artworks are included in this new volume.
Book Tour Dates - All Are Welcome & All Events are Free. I will bring a group of the artworks included in the book to each event listed below:
In Northern California:
51 Tamal Vista Blvd | Corte Madera, California
Wednesday, September 12, 2012, 7:00 PM (Art by Gregg Chadwick Courtesy The Sandra Lee Gallery, San Francisco)
City Lights Booksellers | 261 Columbus Avenue | San Francisco, California
Thursday, September 13, 2012, 7:00 PM (Art by Gregg Chadwick Courtesy The Sandra Lee Gallery, San Francisco)
In Southern California:
Phil Cousineau and Gregg Chadwick on The Painted Word at Warwick's Books | 7812 Girard Avenue | La Jolla, California
Wednesday, November 7, 2012, 7:30 PM
Phil Cousineau and Gregg Chadwick on The Painted Word | Book Soup | 8818 Sunset Blvd West | Hollywood, California
Thursday, November 8, 2012, 7:00 PM
NEW BOOK: The Painted Word By Phil Cousineau and Gregg Chadwick
"When Phil Cousineau and Gregg Chadwick join creative forces it is an important event. This historic collaboration shines with fresh insights into both language and art."
— Alexander Eliot, author of 300 Years of American Painting and The Global Myths
— Alexander Eliot, author of 300 Years of American Painting and The Global Myths
Notes on the Artwork In The Painted Word
When I was young, the form of words—the way they looked— intrigued me and I often wondered what it would be like to look at a word and not be able to read or understand it. In essence, I wondered about the indecipherable mystery behind the word. The artworks I have created for The Painted Word take that sense of mystery into the world of paint and image.
Each creation began with that wonderful, slippery stuff that never wants to be tamed or pinned down: paint. Specifically, I use oil paint for its historical resonance and also because of its liquid origins in the oil pressed from flax. From this plant comes both linseed oil, which is mixed with dry powdered pigments to create oil paint, and linen, which traditionally has been used as the surface that oils are painted upon. Whenever I unroll a new bolt of linen in my studio a rich fragrance reminis- cent of a newly cut field fills the room.
I find that freshly stretched paintings waiting for their first touch of color invite the mystery of life and creation. The word stories written by Phil Cousineau opened up a similar sense of wonder. Like the words, each tube of paint also brought its history into the room. Color names are words steeped in myth and meaning. Lapis Lazuli evokes dangerous treks along the Silk Road into Afghanistan that brought this exquisite blue stone into the workshops of Renaissance artists. The pigment was so expensive and so important it was often reserved for coloring the heavens and Mary’s garments. A separate clause in the artist’s contract would dictate how much the client would pay for the Lapis Lazuli in addition to the amount paid for the artist’s services. Other colors weren’t so dear but were still rich in lore. Burnt Sienna is a warm brown earth pigment that was dug up in the fields surrounding Siena, Italy. Cinnabar, a brilliant red originally found in minerals veined with mercury, also made its way along the Silk Road from its source in China. I used all three of these colors in many of the paintings in The Painted Word.
When I was young, the form of words—the way they looked— intrigued me and I often wondered what it would be like to look at a word and not be able to read or understand it. In essence, I wondered about the indecipherable mystery behind the word. The artworks I have created for The Painted Word take that sense of mystery into the world of paint and image.
Each creation began with that wonderful, slippery stuff that never wants to be tamed or pinned down: paint. Specifically, I use oil paint for its historical resonance and also because of its liquid origins in the oil pressed from flax. From this plant comes both linseed oil, which is mixed with dry powdered pigments to create oil paint, and linen, which traditionally has been used as the surface that oils are painted upon. Whenever I unroll a new bolt of linen in my studio a rich fragrance reminis- cent of a newly cut field fills the room.
I find that freshly stretched paintings waiting for their first touch of color invite the mystery of life and creation. The word stories written by Phil Cousineau opened up a similar sense of wonder. Like the words, each tube of paint also brought its history into the room. Color names are words steeped in myth and meaning. Lapis Lazuli evokes dangerous treks along the Silk Road into Afghanistan that brought this exquisite blue stone into the workshops of Renaissance artists. The pigment was so expensive and so important it was often reserved for coloring the heavens and Mary’s garments. A separate clause in the artist’s contract would dictate how much the client would pay for the Lapis Lazuli in addition to the amount paid for the artist’s services. Other colors weren’t so dear but were still rich in lore. Burnt Sienna is a warm brown earth pigment that was dug up in the fields surrounding Siena, Italy. Cinnabar, a brilliant red originally found in minerals veined with mercury, also made its way along the Silk Road from its source in China. I used all three of these colors in many of the paintings in The Painted Word.
Gregg Chadwick
(From The Painted Word, available in September 2012.
Published in the United States by Viva Editions, an imprint of Cleis Press, Inc., 2246 Sixth Street, Berkeley, California 94710.)
"If The Painted Word were a club act, I'd sit there drinking in Cousineau's revelations, tales and mythologies until they kicked me out of the joint. Reading this brew of etymology, history, lore, and pop connections, with lambent illustrations by Gregg Chadwick, is just as intoxicating. A Cousineau riff on a (passionately selected) word is like Mark Twain meets Coleridge meets Casey Stengel meets---well, everyone who's fun and informative, whether the riff is on autologophagist (someone who eats his/her words) or jack, which, believe me, the world-traveled Cousineau knows when it comes to language. "
—Arthur Plotnik, author of The Elements of Expression: Putting Thoughts Into Words
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