Thanks to all who visited my booth at The Other Art Fair, all my artist colleagues at TOAF, and deep appreciation to all of you who have purchased a new Chadwick! Thanks @saatchiart for this amazing first run in Los Angeles. #art#instaartists And deep thanks as well to @clarkhulingsorg for your support and guidance #ArtIsLife #TheFutureIsWoke
Showing posts with label Saatchi Art. Show all posts
Showing posts with label Saatchi Art. Show all posts
Monday, March 19, 2018
An Amazing "The Other Art Fair" in Downtown L.A.
Thanks to all who visited my booth at The Other Art Fair, all my artist colleagues at TOAF, and deep appreciation to all of you who have purchased a new Chadwick! Thanks @saatchiart for this amazing first run in Los Angeles. #art#instaartists And deep thanks as well to @clarkhulingsorg for your support and guidance #ArtIsLife #TheFutureIsWoke
Sunday, February 25, 2018
Get Your Free Tickets Now to THE OTHER ART FAIR in Los Angeles - Courtesy of Gregg Chadwick
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Gregg Chadwick
24”x30” oil on linen 2018City of Mirrors (61 vette)
THE OTHER ART FAIR
PRIVATE VIEWING COMPLIMENTARY TICKET
(Private VIP Viewing) Please enter your details at the link below to secure your complimentary Private Viewing ticket to The Other Art Fair. Please click link to RSVP for FREE tickets using GreggChadwick as your private code - http://la.theotherartfair.com/rsvp This Private Viewing invitation provides access to the fair between Thursday March 15 - Sunday March 18. You must RSVP before March 15, 2018 to register for the Private View. The Other Art Fair at the Majestic Downtown 650 South Spring Street Los Angeles, 90014 United States |
I am pleased to provide this special perk for my collectors, patrons, followers, and their guests. Excited to see you at the inaugural Los Angeles edition of The Other Art Fair which comes to Downtown Los Angeles from March 15-18. I am exhibiting a selection of artworks from my traveling exhibition Mystery Train, which examines the mythos of America as seen through the physical and cultural history of the railroad in the United States, and also a new series of works that engage the viewer in the story of Los Angeles, reaching right up to the Women's Marches of 2017 and 2018. I also will have a new series of works on paper available, as well as small sized paintings.
Hosted at the Majestic Downtown, and presented by the world's leading online art gallery Saatchi Art, The Other Art Fair showcases work by 100 talented emerging artists, each hand picked by a selection committee of art world experts. Art lovers can visit the fair with the confidence that they are buying from the very best and most promising artists in a unique and immersive experience.
And if you can't make the Private View opening night, I am happy to provide complimentary access for the run of the fair. Details to obtain your free tickets below:
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Gregg Chadwick
30”x40” oil on linen 2018Steel Rivers (Rio Grande) |
And if you can't make the Private View opening night, I am happy to provide complimentary access for the run of the fair. Details to obtain your free tickets below:
THE OTHER ART FAIR GENERAL ENTRY COMPLIMENTARY TICKET
Please enter your details and promotional code, which is GreggChadwick, at the link below to secure your complimentary general entry ticket to The Other Art Fair.
This invitation provides access to the fair between Friday March 16 - Sunday March 18.
Enter the promotional code as shown in the examples below to remove ticket prices. Please ensure that the name of the ticket holder is on the ticket itself. Codes can be used more than once. Tickets will be scanned upon entry and both digital and hardcopy format are accepted. Please click link here to register for FREE tickets - http://la.theotherartfair.com/comp
- The Other Art Fair will make its LA debut at the Majestic Downtown from March 15th – 18th 2018. Complimentary tickets for the fair, courtesy Gregg Chadwick, are now live.
For more information about the fair program visit la.theotherartfair.com and greggchadwick.com
- Thursday, March 15: 6 to 10 p.m. (Private VIP Viewing)
- Friday, March 16: 3 p.m. to 10 p.m.
- Saturday, March 17: 1 p.m. to 10 p.m.
- Sunday, March 18: 11 a.m. to 6 p.m.
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Gregg Chadwick
Mystery Train (20th Century Limited)
60”x48” oil on linen 2016
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Friday, January 05, 2018
Please Save the Date: Gregg Chadwick’s Art Coming to "The Other Art Fair" in Downtown L.A. March 15 - March 18, 2018
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Gregg Chadwick City Lights (Chaplin's Night) 48”x36” oil on linen 2017 |
Gregg Chadwick will have a booth at the inaugural Los Angeles edition of The Other Art Fair which comes to Downtown Los Angeles from March 15-18. Chadwick will show a selection of artworks from his traveling exhibition Mystery Train, which examines the mythos of America as seen through the physical and cultural history of the railroad in the United States, and also a new series of works that engage the viewer in the story of Los Angeles.
Hosted at the Majestic Downtown, and presented by the world's leading online art gallery Saatchi Art, the Fair showcases work by 110 talented emerging artists, each hand picked by a selection committee of art world experts. Art lovers can visit the fair with the confidence that they are buying from the very best and most promising emerging artists in a unique and immersive experience.
“Overflowing with creative talent”
Time Out
"The Other Art Fair's got hipster credentials, but it's serious about nurturing talent too."
Telegraph Luxury
The Other Art Fair will make its LA debut at the Majestic Downtown from March 15th – 18th 2018. Tickets for the fair are now live and for more information about the fair program visit la.theotherartfair.com
Hours for the art fair are:
- Thursday, March 15: 6 to 10 p.m. (private viewing, with limited tickets available)
- Friday, March 16: 3 p.m. to 10 p.m.
- Saturday, March 17: 1 p.m. to 10 p.m.
- Sunday, March 18: 11 a.m. to 6 p.m.
Early Bird tickets are currently available online for Friday, Saturday and Sunday admission for just $8. After January 8, tickets will start at $15. Admission to the private viewing on Thursday is $30.
Details
- Start:
- March 15
- End:
- March 18
- Event Category:
- art
- Website:
- http://la.theotherartfair.com/
- https://www.greggchadwick.com
Venue
- Majestic Downtown
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650 South Spring StreetLos Angeles, 90014 United States
- Website:
- https://themajesticdowntown.com
Gregg Chadwick
Mystery Train (20th Century Limited)60”x48” oil on linen 2016
Tuesday, February 21, 2017
Thanks for a great opening at Saatchi Art!
Thank you to everyone at Saatchi Art for a marvelous opening on Thursday night and for everyone who braved the oncoming storm to get out and visit the show.
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Gregg Chadwick's painting Trento Night at the Mark-Making Opening at Saatchi Art in Santa Monica, February 16, 2017 |
Wednesday, February 15, 2017
Trento Night
by Gregg Chadwick
Far from the haze of Milan, stars glimmer in the clear night sky over Trento. The city hums on this sultry night. Trento at night is like a Fellini film: an otherworldly beauty tinged with memory. An elegant woman in a black slip of a dress slides by silently. Only the sound of the water flowing from Neptune's fountain can be heard. The actress Francesca Neri was born in Trento. Perhaps she is the siren gliding by us?
Much of Italy often feels like a movie set. Intimate squares and piazzas backed by stage lit cathedrals and frescoed corridors. As if in a film cut, the darkened piazza is now lit by a swarm of electronic fireflies. A group of university students just left a nearby ice cream shop and their cellphone's blue glow creates a path across the square. Soon the quiet is broken as phones ring and calls are answered. I think of the innumerable conversations that have filled this spot. It is as if time has stopped. Almost perceptible shadows linger in a haze of half remembered experiences.
A distant train whistle echoes off the Cathedral looming over the piazza. We are close to the Brenner line that runs from Verona along the Adige River up through the Dolomites and into Austria. The train quickly reaches the city. The rumble of its linked wheels seems to bounce off the pavement beneath our feet. Then, as if it was never there at all, the train hurtles forward into the future. And we are left in this city of memories.
In the Trento Cathedral during the Counter-Reformation, the Council of Trent convened from 1545 -1563. First proposed as an ecumenical council that was open to hearing the concerns of Protestant leaders, by its end the Council condemned dissenting Protestant views with the phrase "anathema sit" ("let him be anathema"). The 25th decree of the Council of Trent censored artists:
Superstition, beauty, exciting to lust, unusual images - sounds like the almost naked statue of the pagan god Neptune sculpted two hundred years after the council of Trent and placed on top of the fountain in the center of the cathedral square. From my vantage point it seems that the fountain designed by Francesco Lavarone topped with the sculpture of Neptune by Stefano Salterio pokes fun at the conservative decrees from the council of Trent. Time moves on. Art is a long game. And art in Trento often has a sense of humor. In the Castello Buonconsiglio, not far from the Piazza del Duomo, a witty fresco of a 15th century snowball fight emphasizes that joy in living is not just a modern concept. In fact, fun and laughter are part of what it means to be human. Art can often provide a ray of light in a dark time.
Back in the square, looking out towards the Brenta Dolomites that circle Trento in a stony embrace, scattered patches of snow can be seen high up on the mountain peaks. The heat of summer will soon cool in fall and the snows of winter will move down the mountainsides and perhaps alight on this piazza. Trento seems to hold ancient stories hidden in the stones around me.
"Trento Night" is part of a series of artworks inspired by and created in and around a recent art residency in Northern Italy. The historic city of Trento is named for Neptune's trident. In my painting, a glowing representation of Neptune's fountain graces the center of the scene.
Trento Night is on view at Saatchi Art in Santa Monica in the exhibition:
Far from the haze of Milan, stars glimmer in the clear night sky over Trento. The city hums on this sultry night. Trento at night is like a Fellini film: an otherworldly beauty tinged with memory. An elegant woman in a black slip of a dress slides by silently. Only the sound of the water flowing from Neptune's fountain can be heard. The actress Francesca Neri was born in Trento. Perhaps she is the siren gliding by us?
Much of Italy often feels like a movie set. Intimate squares and piazzas backed by stage lit cathedrals and frescoed corridors. As if in a film cut, the darkened piazza is now lit by a swarm of electronic fireflies. A group of university students just left a nearby ice cream shop and their cellphone's blue glow creates a path across the square. Soon the quiet is broken as phones ring and calls are answered. I think of the innumerable conversations that have filled this spot. It is as if time has stopped. Almost perceptible shadows linger in a haze of half remembered experiences.
A distant train whistle echoes off the Cathedral looming over the piazza. We are close to the Brenner line that runs from Verona along the Adige River up through the Dolomites and into Austria. The train quickly reaches the city. The rumble of its linked wheels seems to bounce off the pavement beneath our feet. Then, as if it was never there at all, the train hurtles forward into the future. And we are left in this city of memories.
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| Gregg Chadwick Trento Night 24"x18" oil on linen 2016 |
In the Trento Cathedral during the Counter-Reformation, the Council of Trent convened from 1545 -1563. First proposed as an ecumenical council that was open to hearing the concerns of Protestant leaders, by its end the Council condemned dissenting Protestant views with the phrase "anathema sit" ("let him be anathema"). The 25th decree of the Council of Trent censored artists:
'every superstition shall be removed ... all lasciviousness be avoided; in such wise that figures shall not be painted or adorned with a beauty exciting to lust... there be nothing seen that is disorderly, or that is unbecomingly or confusedly arranged, nothing that is profane, nothing indecorous, seeing that holiness becometh the house of God. And that these things may be the more faithfully observed, the holy Synod ordains, that no one be allowed to place, or cause to be placed, any unusual image, in any place, or church, howsoever exempted, except that image have been approved of by the bishop'
Superstition, beauty, exciting to lust, unusual images - sounds like the almost naked statue of the pagan god Neptune sculpted two hundred years after the council of Trent and placed on top of the fountain in the center of the cathedral square. From my vantage point it seems that the fountain designed by Francesco Lavarone topped with the sculpture of Neptune by Stefano Salterio pokes fun at the conservative decrees from the council of Trent. Time moves on. Art is a long game. And art in Trento often has a sense of humor. In the Castello Buonconsiglio, not far from the Piazza del Duomo, a witty fresco of a 15th century snowball fight emphasizes that joy in living is not just a modern concept. In fact, fun and laughter are part of what it means to be human. Art can often provide a ray of light in a dark time.
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January Snowball Fight fresco c. 1405-1410 Castello Buonconsiglio, Trento, Italy, |
"Trento Night" is part of a series of artworks inspired by and created in and around a recent art residency in Northern Italy. The historic city of Trento is named for Neptune's trident. In my painting, a glowing representation of Neptune's fountain graces the center of the scene.
Trento Night is on view at Saatchi Art in Santa Monica in the exhibition:
MARK-MAKING
Recent Works by LA-Based Artists
with Special Guest
Danielle Krysa aka The Jealous Curator
Opening Thursday, February 16, 2017
5-6pm Meet & Greet with The Jealous Curator
5-9pm Opening Reception
MARK-MAKING is a new exhibition on view in Santa Monica and online at Saatchi Art. Curated by Saatchi Art curators Katherine Henning and Jessica McQueen, the exhibition continues our series of shows around the world.
The exhibition highlights the work of 25 emerging artists represented by Saatchi Art, the world’s leading online gallery: Jess Black, Gregg Chadwick, Jonas Fisch, Maria Folger, Carlson Hatton, Jessus Hernandez ,Melissa Herrington, Lucie Hinden, Bryan Ida, Campbell Laird, Chase Langford, Robert Lee, Jesús Leguizamo, Tahnee Lonsdale, Michael Microulis, Pete Oswald, Relja Penezic, Aaron Stansberry, Annie Terrazzo, Laura Viapiano, Robert von Bangert, Wayne Chang, Donna Weathers, Adrian Kay Wong, and Vahe Yeremyan.
The exhibition is on view from February 16 to June 1 at Saatchi Art, located at 1655 26th Street, Santa Monica, CA. Gallery hours: Monday through Friday 10am-5pm and Saturday by appointment. Please email to schedule a visit during gallery hours. Gallery contact: curator@saatchiart.com.
All works will be on sale at the exhibition and online at Saatchi Art.
1655 26th Street
Santa Monica, CA 90404
#MarkMaking #TrentoNight #GreggChadwick
Monday, August 01, 2016
Gregg Chadwick Talks About His Paintings on Facebook Live from Saatchi Art Exhibit Cross Currents
CROSS CURRENTS
New Works by Los Angeles Artists
Saatchi Art, the world's leading online gallery, presents new works in celebration of LA's first citywide Public Art Biennial, Current: LA.
July 21 through September 29, 2016
1655 26th Street
1655 26th Street
Santa Monica, CA 90404
CROSS CURRENTS is a new exhibition on view at Saatchi Art in Santa Monica. Curated by Katherine Henning, Associate Curator, and Jessica McQueen, Assistant Curator, the exhibition continues Saatchi Art's series of shows around the world.
The exhibition highlights the work of 14 emerging artists represented by Saatchi Art, the world’s leading online gallery: Gregg Chadwick, Fabio Coruzzi, Charlotte Evans, Art van Kraft, Chase Langford, Koen Lybaert, Lola Mitchell, Harry Moody, Relja Penezic, Kelly Puissegur, Stephen Rowe, Erin Tengquist, Dean West, and Naomi White.
The exhibition is on view from July 21 through September 29, 2016 at Saatchi Art, located at 1655 26th Street, Santa Monica, CA. Gallery hours: Monday through Friday 10am-5pm and Saturday by appointment. Please email to schedule a visit during gallery hours. Gallery contact:curator@saatchiart.com.
All works are on sale at the exhibition and online at Saatchi Art: saatchiart.com/show/cross-currents
#CrossCurrents
Thursday, July 21, 2016
Cross Currents: Don't Forget the Water - Salish Sea
by Gregg Chadwick
Two years ago on a technicolor blue day, I stood on the deck of the Wenatchee ferry cutting through the choppy sea from Seattle to Bainbridge Island. The vessel was named for the Wenatchi people who originally lived in the shadow of the Columbia and Wenatchee Rivers in Eastern Washington State. We are riding on a ship of memory.
In the Yakama language, wenatchi means "river flowing from canyon." The Wenatchee River was home to a vibrant salmon run prior to the damming of the Columbia River which impeded the salmon's journey. Like the fish, the Wenatchi tribe was also blocked from its ancestral waterways as the US government rounded up the Native Americans in Washington State and collected them in reservations far from their native lands.
I often think about the rivers, lakes, towns and cities we have named after the original Americans. The absence of most of their culture in our increasingly mini-malled landscape points to the brutal erasure of Indian tribes across the United States. The dominant culture in America seems to continually romanticize, while at the same time ostracizing, the rich history of Native Americans. The writer Sherman Alexie will have none of that, thank you. Alexie grew up on the Spokane Indian Reservation in Wellpinit, Washington before graduating from Washington State University. Alexie is a major player in contemporary writing. His well-received novels, Reservation Blues and Indian Killer helped pave the way for his foray into film with Smoke Signals and The Business of Fancydancing. Alexie writes with courage about his experiences as an Indian in a white culture. Alexie also writes, as Andrea Vogt in Washington State Magazine reported, with "brutal honesty-some might even say disdain-about ignorance, alcoholism, and other problems on the rez."
For Alexie and other Native American activists ignoring the problems exacerbated by systemic racism in the US is out of the question. With that in mind, for over 20 years an annual inter-tribal Canoe Journey has been held on the Salish Sea. The Salish Sea is a 6,500 square mile ecosystem consisting of the Puget Sound Basin (US) and the Georgia Basin (Canada).
Canoe Journey 2016, Paddle to Nisqually, continues the inter-tribal celebration and annual gathering of Northwest indigenous nations. The website for Paddle to Nisqually goes into great detail about the history and significance of the event:
The theme for this years Canoe Journey is "Don't Forget the Water" in honor of the Nisqually Tribe's Mountain story.
The Nisqually Tribe finds hope in the annual canoe journey and its focus on community building:
In my painting Salish Sea, who is the rider on the bow of this ship of memory?
Gregg Chadwick's Salish Sea is on exhibit at Saatchi Art through September 29, 2016 in the group exhibition Cross Currents. There will be an opening on Thursday, July 21, 2016 from 6-9pm. For more info and to RSVP please visit:
http://www.eventbrite.com/e/cross-currents-new-works-by-la-artists-presented-by-saatchi-art-tickets-26159942091?aff=fb
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Gregg Chadwick Salish Sea 30"x24" oil on linen 2014 |
Two years ago on a technicolor blue day, I stood on the deck of the Wenatchee ferry cutting through the choppy sea from Seattle to Bainbridge Island. The vessel was named for the Wenatchi people who originally lived in the shadow of the Columbia and Wenatchee Rivers in Eastern Washington State. We are riding on a ship of memory.
In the Yakama language, wenatchi means "river flowing from canyon." The Wenatchee River was home to a vibrant salmon run prior to the damming of the Columbia River which impeded the salmon's journey. Like the fish, the Wenatchi tribe was also blocked from its ancestral waterways as the US government rounded up the Native Americans in Washington State and collected them in reservations far from their native lands.
I often think about the rivers, lakes, towns and cities we have named after the original Americans. The absence of most of their culture in our increasingly mini-malled landscape points to the brutal erasure of Indian tribes across the United States. The dominant culture in America seems to continually romanticize, while at the same time ostracizing, the rich history of Native Americans. The writer Sherman Alexie will have none of that, thank you. Alexie grew up on the Spokane Indian Reservation in Wellpinit, Washington before graduating from Washington State University. Alexie is a major player in contemporary writing. His well-received novels, Reservation Blues and Indian Killer helped pave the way for his foray into film with Smoke Signals and The Business of Fancydancing. Alexie writes with courage about his experiences as an Indian in a white culture. Alexie also writes, as Andrea Vogt in Washington State Magazine reported, with "brutal honesty-some might even say disdain-about ignorance, alcoholism, and other problems on the rez."
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| The Business of Fancydancing leads Gene Tagaban (Aristotle Joseph), Michelle St. John (Agnes Roth), and Evan Adams (Seymour Polatkin), with writer/director Sherman Alexie.photo by Lance Muresan Courtesy Washington State Magazine |
Canoe Journey 2016, Paddle to Nisqually, continues the inter-tribal celebration and annual gathering of Northwest indigenous nations. The website for Paddle to Nisqually goes into great detail about the history and significance of the event:
"Canoe Journey gatherings are rich in meaning and cultural significance. Canoe families travel great distances as their ancestors did and participating in the journey requires physical and spiritual discipline. At each stop, canoe families follow certain protocols, they ask for permission to come ashore, often in their native languages. At night in longhouses there is gifting, honoring and the sharing of traditional prayers, drumming, songs and dances. Meals, including evening dinners of traditional foods, are provided by the host nations.When Europeans began exploring the region, the tribes were used to meeting and welcoming strangers who arrived by boat. Sadly, the Europeans did not understand the hospitality culture of the coastal tribes as the tribes were displaced over the next two centuries. The canoe culture, as practiced by the Native American tribes of the Pacific Northwest, had all but disappeared until the Canoe Journey events began to grow in the 90’s. Techniques of canoe making and use had largely vanished and fewer and fewer tribal people knew how to pull a traditional canoe. Now...a new tradition is well into the making and a cultural resurgence is underway."
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The Salish Sea is a 6,500 square mile ecosystem consisting of the Puget Sound Basin (US) and the Georgia Basin (Canada).
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The Nisqually Tribe finds hope in the annual canoe journey and its focus on community building:
"The Nisqually River Council’s Nisqually Watershed Stewardship Plan (NWSP) recognizes that community wellness is a key component of creating a sustainable watershed. We embrace the people who live in the Nisqually watershed, their sense of identity and responsibility that has existed for generations. Strong communities require, among other things, access to the arts and high community health indicators. Paddle to Nisqually represents a unique opportunity to highlight the many efforts the Nisqually Tribe makes to promote community wellness, including a culture free of drugs and alcohol, access to traditional and healthy foods, and close ties to Nisqually heritage."Looking back now on that day on the ferry, I see things through the veil of my painting and the complicated history of the region. There is an accumulation of memories gathered in this Salish Sea as the Wenatchee ferry carries its passengers towards their destination. How many canoes over the centuries have traversed this same path?
In my painting Salish Sea, who is the rider on the bow of this ship of memory?
Gregg Chadwick's Salish Sea is on exhibit at Saatchi Art through September 29, 2016 in the group exhibition Cross Currents. There will be an opening on Thursday, July 21, 2016 from 6-9pm. For more info and to RSVP please visit:
http://www.eventbrite.com/e/cross-currents-new-works-by-la-artists-presented-by-saatchi-art-tickets-26159942091?aff=fb
CROSS CURRENTS
New Works by Los Angeles Artists
New Works by Los Angeles Artists
Saatchi Art, the world's leading online gallery, presents new works in celebration of LA's first citywide Public Art Biennial, Current: LA.
July 21, 2016
6–7pm VIP Preview
7–9pm Public Reception
6–7pm VIP Preview
7–9pm Public Reception
1655 26th Street
Santa Monica, CA 90404
Santa Monica, CA 90404
RSVP by July 20
CROSS CURRENTS is a new exhibition on view at Saatchi Art in Santa Monica. Curated by Katherine Henning, Associate Curator, and Jessica McQueen, Assistant Curator, the exhibition continues Saatchi Art's series of shows around the world.
The exhibition highlights the work of 14 emerging artists represented by Saatchi Art, the world’s leading online gallery: Gregg Chadwick, Fabio Coruzzi, Charlotte Evans, Art van Kraft, Chase Langford, Koen Lybaert, Lola Mitchell, Harry Moody, Relja Penezic, Kelly Puissegur, Stephen Rowe, Erin Tengquist, Dean West, and Naomi White.
The exhibition is on view from July 21 through September 29, 2016 at Saatchi Art, located at 1655 26th Street, Santa Monica, CA. Gallery hours: Monday through Friday 10am-5pm and Saturday by appointment. Please email to schedule a visit during gallery hours. Gallery contact:curator@saatchiart.com.
All works are on sale at the exhibition and online at Saatchi Art: saatchiart.com/show/cross-currents
#CrossCurrents
Wednesday, July 20, 2016
Cross Currents: Ponte di Castelvecchio - Water and the Image of Time
by Gregg Chadwick
Last year, perched above a Renaissance era bridge in Verona, Italy, I watched a light rainfall and a swollen river rush by. The smell of rain filled the air. Swifts darted across the milky sky. Like gauze stretched across a stage set, the mix of rain, bus exhaust, and a distant sun breaking through the mist cloaked the moment in a spell of timelessness. I thought of the late Russian emigre writer Joseph Brodsky and his idea that water is the image of time. Often on trips to Europe, I will carry a battered copy of Brodsky's verse to help inspire my ramblings. Here in the Veneto, I am reminded of Brodsky's love of Italy and Venice in particular. I turn the pages of Brodsky's Watermark and find the passage I am looking for:
I rush back to my studio on Via Filippini and lay in with liquid oil paints the initial layers of my first study for Ponte di Castelvecchio.
On the canvas, I brush in greens, milky blues, and brick reds. The structure of the bridge begins to emerge as I cut into the wet paint with a loaded brush of lighter color. It is a large canvas in my small 16th-century space and it quickly becomes a presence in the room. After the initial surface is complete, I lean the wet painting against the plaster wall.
I stand across the room and gaze at the painting. Even at this stage, the artwork has taken on a life of its own and I need to respect that. I see hints of Corot, maybe Degas? Perhaps I was thinking of Giorgione's The Tempest now housed at the Gallerie dell'Accademia in Venice, Italy?
I spend time with the painting, then out into the vibrant Veronese streets for dinner. Tomorrow, I will look at the painting again and maybe, if the paint is dry enough in the humid summer air, add more layers of color. In the morning light with an espresso in hand, I will see more clearly.
A few weeks later upon its completion, I left the study with a new collector in Verona and started on a final version in my Santa Monica studio upon my return from Italy.
As a painting progresses, I will often find hints of its future shape in historical artworks as mentioned above, or in films, or books. When I was in graduate school at NYU, I studied not far from Verona in Venice. I often think of my instructor Giovanni Soccol who provided the art direction for Nicolas Roeg's eerie Venice-based film Don't Look Now. The film is based on a story by Daphne Du Maurier and stars Julie Christie and Donald Sutherland as a couple mourning the recent loss of a child. Soccol's artistic vision is evident throughout the film and I remember traveling to sites in Venice with Giovanni where the film was shot. As a Venetian, water is an important subject for Soccol and is often poetically referenced in his film work and his paintings. (See the video below)
Another striking element from Don't Look Now has found an echo in my painting Ponte di Castelvecchio (Verona). The color red is a character in Don't Look Now as much as Christie and Sutherland. That pop of color against the green-blue water, blue and grey skies, and tawny stone of Venice finds an echo in my painting. In Ponte di Castelvecchio (Verona), the splashes of red and orange that mark the umbrellas swiftly carried across the bridge find their antecedent in the red jackets and blood eddies in Soccol and Roeg's film. Water, blood, and time.
Gregg Chadwick's Ponte di Castelvecchio (Verona) is on exhibit at Saatchi Art through September 29, 2016 in the group exhibition Cross Currents. There will be an opening on Thursday, July 21, 2016 from 6-9pm. For more info and to RSVP please visit:
http://www.eventbrite.com/e/cross-currents-new-works-by-la-artists-presented-by-saatchi-art-tickets-26159942091?aff=fb
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Gregg Chadwick Ponte di Castelvecchio (Verona) 48"x36" oil on linen 2016 |
I look up from by book and peer down at the river's edge. In the reeds and shallows small fish chasing food dart where the current eddies. In this reverie, my mind creates stories - If Brodsky is right these pools hold time in stasis. If I had a long net, maybe I could dip into the water and pull out living memories. A motorcycle roaring by on the road behind me breaks the spell and I think of darker times. During the Allied advance in World War II up through the Italian boot, the occupying German army drew a do not pass line at Verona because of its major transportation links running north to Austria. This bridge beneath me, the Ponte di Castelvecchio, bears the scars of that conflict. Retreating Nazi forces blew the bridge up in 1945. After the war, the pieces were collected and reformed into the bridge's current form. Time shapes all."I always adhered to the idea that God is time, or at least that His spirit is. Perhaps this idea was even of my own manufacture, but now I don't remember. In any case, I always thought that if the Spirit of God moved upon the face of the water, the water was bound to reflect it. Hence my sentiment for water, for its folds, wrinkles, and ripples, and – as I am a Northerner – for its grayness. I simply think that water is the image of time, and every New Year's Eve, in somewhat pagan fashion, I try to find myself near water, preferably near a sea or an ocean, to watch the emergence of a new helping, a new cupful of time from it. I am not looking for a naked maiden riding on a shell; I am looking for either a cloud or the crest of a wave hitting the shore at midnight. That, to me, is time coming out of water, and I stare at the lace-like pattern it puts on the shore, not with a gypsy-like knowing, but with tenderness and with gratitude."
I rush back to my studio on Via Filippini and lay in with liquid oil paints the initial layers of my first study for Ponte di Castelvecchio.
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Gregg Chadwick Study for Il Sole nella Pioggia : Ponte Castelvecchio Verona oil on canvas 2015 private collection - Verona, Italy photo taken at Via Filippini Studio, Verona, Italy 2015 |
On the canvas, I brush in greens, milky blues, and brick reds. The structure of the bridge begins to emerge as I cut into the wet paint with a loaded brush of lighter color. It is a large canvas in my small 16th-century space and it quickly becomes a presence in the room. After the initial surface is complete, I lean the wet painting against the plaster wall.
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Gregg Chadwick's Via Filippini Studio, Verona, Italy 2015 |
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Giorgione Banner with Detail of The Tempest Venice, Italy 2010 |
I spend time with the painting, then out into the vibrant Veronese streets for dinner. Tomorrow, I will look at the painting again and maybe, if the paint is dry enough in the humid summer air, add more layers of color. In the morning light with an espresso in hand, I will see more clearly.
A few weeks later upon its completion, I left the study with a new collector in Verona and started on a final version in my Santa Monica studio upon my return from Italy.
As a painting progresses, I will often find hints of its future shape in historical artworks as mentioned above, or in films, or books. When I was in graduate school at NYU, I studied not far from Verona in Venice. I often think of my instructor Giovanni Soccol who provided the art direction for Nicolas Roeg's eerie Venice-based film Don't Look Now. The film is based on a story by Daphne Du Maurier and stars Julie Christie and Donald Sutherland as a couple mourning the recent loss of a child. Soccol's artistic vision is evident throughout the film and I remember traveling to sites in Venice with Giovanni where the film was shot. As a Venetian, water is an important subject for Soccol and is often poetically referenced in his film work and his paintings. (See the video below)
Another striking element from Don't Look Now has found an echo in my painting Ponte di Castelvecchio (Verona). The color red is a character in Don't Look Now as much as Christie and Sutherland. That pop of color against the green-blue water, blue and grey skies, and tawny stone of Venice finds an echo in my painting. In Ponte di Castelvecchio (Verona), the splashes of red and orange that mark the umbrellas swiftly carried across the bridge find their antecedent in the red jackets and blood eddies in Soccol and Roeg's film. Water, blood, and time.
Gregg Chadwick's Ponte di Castelvecchio (Verona) is on exhibit at Saatchi Art through September 29, 2016 in the group exhibition Cross Currents. There will be an opening on Thursday, July 21, 2016 from 6-9pm. For more info and to RSVP please visit:
http://www.eventbrite.com/e/cross-currents-new-works-by-la-artists-presented-by-saatchi-art-tickets-26159942091?aff=fb
CROSS CURRENTS
New Works by Los Angeles Artists
New Works by Los Angeles Artists
Saatchi Art, the world's leading online gallery, presents new works in celebration of LA's first citywide Public Art Biennial, Current: LA.
July 21, 2016
6–7pm VIP Preview
7–9pm Public Reception
6–7pm VIP Preview
7–9pm Public Reception
1655 26th Street
Santa Monica, CA 90404
Santa Monica, CA 90404
RSVP by July 20
CROSS CURRENTS is a new exhibition on view at Saatchi Art in Santa Monica. Curated by Katherine Henning, Associate Curator, and Jessica McQueen, Assistant Curator, the exhibition continues Saatchi Art's series of shows around the world.
The exhibition highlights the work of 14 emerging artists represented by Saatchi Art, the world’s leading online gallery: Gregg Chadwick, Fabio Coruzzi, Charlotte Evans, Art van Kraft, Chase Langford, Koen Lybaert, Lola Mitchell, Harry Moody, Relja Penezic, Kelly Puissegur, Stephen Rowe, Erin Tengquist, Dean West, and Naomi White.
The exhibition is on view from July 21 through September 29, 2016 at Saatchi Art, located at 1655 26th Street, Santa Monica, CA. Gallery hours: Monday through Friday 10am-5pm and Saturday by appointment. Please email to schedule a visit during gallery hours. Gallery contact:curator@saatchiart.com.
All works are on sale at the exhibition and online at Saatchi Art: saatchiart.com/show/cross-currents
#CrossCurrents
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