I recently picked up these three drawings after the conclusion of “Darkest Before Dawn” at Ethan Cohen KuBe which was extended through the end of February. Really appreciated the pairing of these pieces with a loose gestural wall drawing that provided some warmth and high energy.
The drive to Beacon was all almost-green, everything on the verge of displaying springtime growth. The red flourishes on the wall below were part of a larger mural in the KuBe, which inhabits an old school building in Beacon, NY.
Three of my meditation drawings which together reflect upon the phrase “open heart” are included in Darkest Before Dawn: Art in a Time of Uncertainty at Ethan Cohen KuBe, opening this Sunday.
Click here to schedule a visit either during the opening reception on November 1st, or throughout the duration of the exhibition. If you do visit, please let me know what you thought (comment below or send an email).
please note: admission is free; registration is required in order to ensure social distancing in the galleries
Click the button below to view a PDF of the catalogue put together by the Thinking Through Drawing Research Network. This is my first time being included in an exhibition catalogue! See p. 43 for my drawing, Meditation XIX (the return of the repressed) – after Louise Bourgeois. As I wasn’t able to visit in-person, it’s been nice to be able to look through all of the drawings and get an idea of the exhibition as a whole.
(details) Perfect in Weakness, diptych, 36×24″, ink on paper/acrylic on paper, 2019
While working on the painting portion of this piece, I considered the way that small pieces (of the composition, of life) can feel out of place or broken, especially when observed from a place that is close-up and contained. With a more spacious point of view, there can be a perfection in observing the way things fit together that wasn’t previously apparent.
This drawing is 19th in a series of textual meditations I’ve been making since 2014, and was selected to be part of the exhibition Visual Thinking at the Ronald L. Barr Gallery at Indiana University Southeast. Methodical and meditative, these drawings have proven a constant over the past five years, and I imagine will continue to be so in the years to come.
I first saw this phrase of Louise Bourgeois’ in an exhibition at MoMA which include, among many books, paintings, and sculptures spanning her career, the fabric book Ode à l’oubli. (Here‘s a photo of her piece in the exhibition Louise Bourgeois: An Unfolding Portrait.) Her prolific body of work fascinated me, and her mantra offers hope that I too might return to openness from areas of repression.