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A visual commentary examining
American Culture in the context
of a variety of contemporary
Where will we be tomorrow considering the irrepressible tumult stifling the voices of
peace? Is social accord an experience that will remain only as fiction, destined to be
banned in some totalitarian future America as discordant political rhetoric promotes
ideals of exclusion…is this is the State of the Union? Status quo defect is ad nostrum
verum est; the status quo failures are ours to correct. Abject insularity is a keystone
ideal facilitating deeper divides in the experiment we call America.
– Rob J Phillips
Brazos Gallery Crockett Hall C140. February 17 – March 06, 2020
Reception March 03, 11- 12
Presented by Richland College, DCCCD
My work begins with the individual. I’ve always been an observer of people and run into individuals who inspire me through their fashion, personality, or conversation. I am for creating pieces that are rich in storytelling, free from constraints, and true to the person I’m painting. This is accomplished by letting the individual’s narrative drive my work. I use traditional drawing and oil painting techniques to communicate the qualities of each individual.
Brazos Gallery and Art Faculty of Richland College present CIRCUIT BREAKERS,
November 4 – December 6
Reception: November 7, 11:00 – 1:00 Brazos Gallery C140
Gallery Hours: 10:00 – 4:00, Monday – Friday
Artist Statement 2019
This show comprises works from two series that developed more or less simultaneously. One group is Concentric Squares, which has been ongoing for several years, and paintings from this set have been shown numerous times in various venues recently. The other group, Horizontal Stripes, is smaller, with just six altogether. They have not previously been shown. Both groups use only a range of grays and metallic hues, what I have been calling an industrial palette, to distinguish the colors from spectrum or natural hues. They all are hard edged using straight lines and multiple layers of paint to give the surface an opaque effect that keeps the eye of the viewer on the surface instead of penetrating into an illusionist depth.
The squares are classical in their symmetry, and are made up of a series of mathematical relationships and proportions that are determined before the painting is begun. The paintings are conceived as a series of concentric forces compressing toward the center, or conversely, radiating outward from it.
The stripes use a vertical rectangular format that consists of stripes or bands of color of differing widths. The canvas is divided down the center vertically from top to bottom, which contrasts with the horizontal bands in order to reconcile the opposing forces of the two directions. The central divide is conceived as an upward or downward shift in the horizontal movement of the bands, so that the band is broken and disrupted at the midpoint, continuing as a different color and width on the other side of the divide.
These works are abstract rather than abstractions, the difference being that an abstraction is rooted in perception, what the eye can see, and the resulting work is a distillation, reduction or essence of what was observed, regardless of how far removed from its source the work appears to be. An abstraction is therefore dependent upon a subject outside itself for its existence. My abstract works are entirely conceptual, in that they are invented with no reference to anything outside themselves. They are a physical, visual embodiment of an idea that consists of proportions and colors of areas relative to each other and to the framing edge of the painting.
2018 – 2019 Feedback Loops references the painted figures’ suspended actions, my own
relationship with my subjects, the viewer’s interpretation of those actions, and the
painting’s own homeostatic state of color and form. I see painting as a way to
contemplate the nonverbal space between people. The paint makes it tactile. The
inevitable incongruity, asymmetry, and fluidity of that space is translated by
amalgamations of color, line, and figure forms. When lucky, the painting itself becomes a
gesture. In my process, I re-perform experiences that have been shared with me
digitally, witnessed in person, or embodied. Much like communication itself, the visual
content and actions in paint compress multiple perspectives, time, actions, and
memories—creating a visual placeholder for the in-between. As a twin, and now a wife,
mirroring and asymmetrical duality has become common themes in my work. I was born
in New Orleans in 1990. Drawing and painting constantly, I navigated my way towards a
life of art making. I received my BFA from LSU in painting and drawing and then my MFA
as a fellow at SMU. My work is exhibited in museums, galleries, and art fairs throughout
the country. I live and work in Dallas as an artist and art educator at Richland College,
other local institutions, and privately.
Melba Northum’s Summer class has artworks on display in the Brazos Gallery. The design ideas for the art created was based on our love of color and fear of color.
Andrew Kochie pushes the boundaries of refraction and light on hand etched aluminum panels balanced with works that play with shadow.
LUX will also include QR Code technology that will reveal stories and thoughts behind the pieces.
Andrew Kochie is a Dallas based visual artist and cultural advocate. His body of work is a synthetic blend between abstract and trompe l’oeil illusion ranging between abstract minimalism to hard edge geometric abstraction and a pioneer in Metallic Trompe l’oeil.
June 17 – July 19, 2019
Artist Talk June 19, 11- 12 / Reception June 21, 7 – 9P
Brazos Gallery, Crockett Hall C140, DCCCD