Notbook is an informal collection of ideas, paintings and photographs revealing the creative process of contemporary artist Chris Page.
Wentworth Path Memory 06.10.2018 (painted September 2018)
acrylic on canvas 28 x 34 in.
Sediment Shift acrylic on raw canvas 29 x 50 in.
I came across this painting on a digital print from one of my sky walks the other day and decided to photograph it. I am thinking this is going to be the beginning of an extended series of painterly sky works.
The Phillips collection and The East Building of the National Gallery got most of my attention during a four day visit to Washington D.C. Some of my favorite artists including Barnett Newman and Mark Rothko were well represented. The Dwan Gallery show at the National Gallery was particularly satisfying. The little Jake Berthot (below) was at the Phillips.
I had a great trip to Washington, D.C. in early December, 2016. The East Building of the National Gallery of Art is reopened and the new tower that houses the Mark Rothko and Barnett Newman paintings is impressive. Other artists and shows on view that captured my attention include, Anselm Kiefer and his lead airplane, Robert Motherwell, Alfred Jensen, Mel Bochner, Cy Twombly and Barbara Kruger. The Dwan Gallery show was a great opportunity to see the Spiral Jetty drawings of Robert Smithson along with the giant wall mounted photographs. Isamu Naguchi was at the Smithsonian American Art Museum and I was able to see one of my favorite sculptures of his: Sky Mirror. Jake Berthot was at the Phillips along with Arlene Shechet's Intersections: From Here On Now and Whitfield Lovell's The Kin Series and Related Works.
Nine Rhythms Between Dark and Light. This is one of the early sky based sequences, graphite acrylic on paper, 9 x 12 inches each.
Six Sky Rhythms. This is an of the early sky group, acrylic on canvas. Each painting is approximately 54 inches long.
Sky Gesture Sequence 09.09.2013 acrylic on canvas panels, 5 x 42 inches.
Originally exhibited in 2013 as part of Sky-Time Unbroken Continuities, Hope & Feathers Gallery, Amherst, Massachusetts.
An early precursor to the twenty foot long painting, Warm Wind 11.109.2016. The painterly success of this piece is calling me to work similarly at a larger scale. Trust in process and incident will be necessary to pull them off.
This work is available: PRICE
It is hard to believe that this painting is over 10 years old. My sense of time is losing some of it's coherence, as my memory feels too complex to be useful as an accurate indicator of time.
Waking up this morning (04.02.2016) there was a thin cloud layer in the sky that revealed a slight bit of light down at the horizon. The field like nature of this painting from 2012 came to mind.
Sky Gesture 1
54 x 84 inches
Acrylic on Canvas
Sky Gesture I uses a rhythmic overlaying of gestural action using the length of my reach as the predominant size of the gesture. The final layer, a very thin wash, includes migrating drips that were allowed to remain visible on the right and lower edges of the painting. In Payne’s gray revealing lavender along the bottom edge, the spatial field appears to optically hover as if not quite synonymous with the picture plane.
Small Sky Painting was created by over-painting an earlier painting. I am interested in the gap between cloud banks where the orange ground of the sky is revealed. The challenge is how to contend with the inherent figure ground problem of the atmospheric ground. The original soft orange of the ground made for a good chromatic contrast to the gestures using Payne's grey of the top layer. To see some other example of the appearance of this kind of sky gap check out the next entry Dark and Light Stripes.