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Jane Richlovsky

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Andy’s Ambition

 Posted on May 3, 2022

Andy’s Ambition, a site-specific installation at Bonfire Gallery at 603 S. Main Street in Seattle’s Japantown neighborhood, is on view now through June 30, 2022. It’s viewable from the street 24/7, and right next door to the storied Panama Tea Room. There will be a public reception on first Thursday, June 2, from 6-8 PM.

The reason I’m painting this way is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do.

Andy WArhol

That quote might conjure up an image of Andy’s outwardly cold, unemotional stare as he churns out endless rows of Marilyns in his Factory.

For me, the associations are more nuanced: The line between machine and human is not so clear-cut. A human and a tool performing a task together make an intimate, intricate dance, the repetitions of their movements creating new rhythms and patterns that neither could have created on their own. Decorative pattern has its origin in one such dance: weaving, one of the earliest and most widespread of human-machine collaborations.

For this installation, I generated a pattern by rotating and repeating a single shape on a grid, in collaboration with screen, squeegee, and hand-cut Tyvek stencils. Out of our repetitive dance and its variations, additional shapes emerged. Those shapes felt both mechanical and handmade, and also somewhat creature-like. In collaboration with a saw, I brought these creatures out into three dimensions to continue the dance.

The basic shape at the root of it all is a square divided into two unequal L-shaped parts. Starting in one of its four possible positions and rotating it clockwise or anti-clockwise gives you eight possible variant rows. How you sequence those rows makes for an infinite variety of patterns, some of which form new unanticipated shapes.

Here’s a block of 4 units by 4 units, starting with the larger shape in yellow:

Magenta in the smaller shape, filling in the interstices.

And then it gets interesting…a variant pattern, generated from the same unit, printed in translucent cyan over top the first one….

And another layer of cyan, offset a bit …

The opposite colorway in the studio.

Earlier I had experimented on a smaller scale with other patterns that I generated from the same unit. I kept returning to this sequence because I really liked the vaguely anthropomorphic, robotic, space-invader-era creatures that emerged out of it, seemingly by spontaneous generation. These shapes became the key to my next adventure: bringing pattern out of the wall and into the third dimension.

An early concept model.

I cut two flat identical shapes based on the robot guys, cut a slot into each one, and rotated them 90 degrees from each other and attached them. My creatures now had a three-dimensional existence.

I cut the pieces out of plywood with the COOLEST FREAKING THING ON THE PLANET, a Cutawl K-11.

Green units drying on the table.
Mid-install.
Up through June 30 at Bonfire Gallery, 603 S. Main Street

I’ll Never Have That Recipe Again

 Posted on May 21, 2020

I have been painting twisted vintage Americana, much of it food-related, on found fabrics for over twenty years. A couple of years ago, I found myself with an overabundance of tiny (4″) plywood “doughnut holes” left over from building larger round panels. The tiny circles were so appealing, I had to make them into painting supports. I used them for studies of the food that was piled on a table in a commissioned piece I was working on at the time. I was trying to mix the weird colors found in 1950’s cookbook illustrations of processed food, mimicking the color printing process by using only four colors of paint (CMYK) plus white.

painting of a radish
Radish Rose

The project later evolved into a way to trick myself into painting more loosely. The tiny paintings were from scraps, and such a low investment—if one wasn’t working, I’d just paint over it. 

I would get hungry every time I worked on them, even when the food was kind of gross.

In my work I’ve often depicted highly decorative culinary concoctions that channeled an inordinate amount of female creativity into bizarre and ephemeral projects. For example: start by gutting a simple potato, loaf of bread, or hard-boiled egg; mix the innards with other ingredients, primarily mayonnaise; then stuff them back into their original container to create a similacrum of the original—now there’s a productive use of time! Working alone in a room painting detailed, labor-intensive food pictures makes me feel a sort of kinship with my homebound foremothers who labored over the actual food. Their creations were devoured (or not), the evidence of their labor and ingenuity vanished. Art is arguably undervalued in our culture, but at least there do exist people willing to shell out money for it and hang it on their wall. So I’ve got that going for me anyway.

I was finishing this series just as the pandemic was starting to drive many of us into the cocoons of our homes. Home-cooked food has suddenly taken center stage as a source of comfort and symbol of togetherness. There has also been a resurgence of food-as-craft-project, a reincarnation of the fifties mom sculpting strange concoctions out of humble, edible materials. We’re mourning our former social, public, busy lives, and appreciating anew things we took for granted, including sharing food with friends. When we finally re-gather and rebuild and sit down to a nice dinner together, we’ll be starting from scratch, as it were, in a new world. We’ll never have that recipe again.

Sweet Green Icing

Appropriately, this series of twenty-four food paintings will be shown for the first time in a home. The Food Art Collection has existed as a gallery in curator Jeremy Buben’s apartment since 2017. We had already planned to show this work there this year, just before everybody went home and did everything, including showing art, online. Opening in June, all the paintings in I’ll Never Have that Recipe Again will be hung together on a real wall in a physical gallery. They will also displayed on the gallery’s website (and online store), and video tours and talks will be scheduled in the coming weeks. The paintings will remain on display in the physical space through the summer. We anticipate possibly moving into “phase 2” in Washington next month, which means the gallery will likely be open for in-person viewing by appointment in the coming months. A reception seems less likely, but stay tuned.

See? Mmmmm. Why? ‘K!

 Posted on June 20, 2017

Process colors: Cyan, Magenta, Yellow, Black. These four dyes are in your home printer, in the printed magazines, flyers, business cards, t-shirts, you name it. Four, just four, colors are distributed on the page in the form of dots which your eye perceives, sending signals to the brain, which mixes the dots into seemingly every color in the visible universe. Which of course they are not, but the agreed-upon fiction in the world of reproduced color is that if CMYK can’t make ’em, we don’t need ’em.

I’m not the first artist to find this fascinating. Most famously, Roy Lichtenstein reproduced the crude benday dots of the Sunday newspaper, but even earlier Georges Seurat referenced them in his paintings. Seurat’s concern, like many of his Impressionist pals, was optical. He liked the idea that your eye (actually your brain) could take these discrete meaningless pieces of color information and extrapolate a whole world: three-dimensional form and even beauty. Lichtenstein blew them up and called our attention to the abstract patterns we were actually looking at when we read an image of a comic book damsel in distress.

Georges Seurat, detail of Trees and Boats

My own interest in them comes from the fact that I’ve been mining old mass-produced color print sources for my work for thirty years. Particularly, I revel in the truly weird and unlifelike photographs of food in cheaply-printed magazines and cookbooks. I sometimes use a photographer’s loupe to see what-all colored dots make up the putty green of midcentury iceberg lettuce or a nuclear cantaloupe.

For years, I looked mainly out of curiosity, then I’d forget about what I’d seen and mix the colors for the painting out of other, more traditionally painterly pigments. Recently I decided I wanted to use the process colors themselves, in the form of their artist-grade oil paint approximations. I think of it as performing the color separations in my brain and putting the pieces together on paper or canvas.

Colored pencils allow for more discreet units of color that mix optically, so I’ve been working with those in life drawing sessions. The first stages of a drawing done this way look really weird, the people all bright yellow with random spots of purple. As the marks accumulate, the drawing starts to resolve itself into something approaching believability.

Watercolors are an intermediate step. They dry faster and can be mixed more loosely and spontaneously than oils, and layered quickly as they dry, maintaining some of their CMYKness. The black (“k”) here is pen & india ink.

Now for the really nerdy part. I do want to paint in these colors in oil. I already tend to work with limited palettes, that is, I mix most every color I need for a painting out of three particular (loosely-defined) primary colors and white. Over the years, I’ve created an extensive reference library of swatches out of many different primary combinations. (That may sound like I have too much time on my hands. Actually, it pays for itself in time spent painting rather than aimlessly mixing.)  So why not try the same process with my four new CMYK pals: a bright turquoisely blue, magenta, a cool yellow, and black.

(More about limited palettes in the post about Color Boot Camp.)

I painted my two fake album covers in this palette, which makes sense, because real album covers would be printed with CMYK process colors. The gimmicky scenarios play on the whole idea of printed vs. painted color.

The piece I made for Juan Alonso’s benefit party also utilized these colors. Like the Ersatz Family Singers, it incorporates a xerox transfer.

 

Color Boot Camp

 Posted on April 25, 2017

This is a re-post from 2014. A new version of this class will be offered soon.

Color Boot Camp, which started in January, is in its final weeks. We’ve had a fabulous session with a group of six excellent painters. Choosing just three pure pigments that fall into the red, blue, and yellow categories, each student mixed a full palette of secondaries, tertiaries, tints, and tones, 81 colors from just 3 colors and white, ending up with a set of useful reference swatches.

jennyorange annemixing

We used that palette to paint this still life, paying particular attention to the colors of the shadows, and how to interpret and make sense of its weird colors with the palette you have. Everyone’s palette was slightly different, since they’re each mixed from different primaries, but each palette has an internal cohesiveness to it, lending harmony to the paintings.

stilllife

Then we ate it.  (The eggs were hard-boiled)

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Recent Posts

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  • I want to be a machine*
  • Eat Dessert First!
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  • In the Studio: Life inside a Vuillard
  • Rotation of a square and other adventures
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