Solo Exhibit in Albany, NY

“The Pump Collection:  21^st Century” and

Selections from the “Barnwood Quilt”

The Rugged and the Fabulous

James Thatcher, of Cobleskill, NY will be displaying rugged constructions and colorful paintings at the Alacrity Frame Workshop and Gallery, 215 Lark Street in downtown Albany, NY.  The exhibit opens Friday evening, July 5^th as part of Albany’s “First Friday” arts and culture event, and will continue to Tuesday, July 30^th, 2013.

Mr. Thatcher moved to upstate New York from North Carolina in 2011.  His art career spans over three decades, with solo exhibits in many galleries and regional art centers including the Washington Project for the Arts in Washington, DC.  His work has been featured in numerous group shows including the Corcoran Museum of Art in Washington, DC, the Devos Art Museum in Marquette, MI, and the Budapest Academy of Fine Arts in Budapest, Hungary.

 Mr. Thatcher has also manufactured and marketed high end furniture in Washington, DC and has his woodwork in prestigious collections worldwide, including those of news personality Paula Zahn, former U.S. President Bill Clinton, and late Chinese Premier Deng Xiaoping, among many others.

The paintings at Alacrity Frame Workshop and Gallery draw from Thatcher’s experience as a graffiti artist.  He spread his iconic symbol of “A Classic Evening Pump” throughout Washington, DC in the early 80’s. 

 

 

Revisiting the subject matter 30 years later on a more domestic scale  (11” x 14” framed), Thatcher uses spray paint on primed paper, rendering various styles of fashionable and fabulous footwear.

 

 

“The Barnwood Quilt” is an ongoing series of constructions made from weathered wood.  Thatcher assembles a central square and then frames it in longer strips of the rustic material.  The seams of all the mitered corners line up when multiple squares are mounted together, creating lines that span entire walls from piece to piece. 

 

 

“These two series are visually very different, but are symbolic of male and female,” Thatcher said.  “Tension and drama exist in their coming together.”  He continued, “The social metaphor of this display is a newly discovered surprise; but these two groups of work share a formal interest in materials and processes”

James Thatcher graduated from the Corcoran College of Art and Design, Washington, DC in 1984; beginning his post-secondary education at the Columbus College of Art and Design, Columbus, OH.

New Vision for Salisbury, MD!

I just learned today that my proposal for “The New Vision Heron Mural” for Salisbury, MD was accepted by United States Artist Projects for display on their website, www.usaprojects.org!  The painting (12' high x 30' tall) will require a minimum of $5,800 dollars to produce; and this means that I have the opportunity to receive funding pledges; not just in the area where the mural is located, but with web-wide exposure for the project.  It's an opportunity for individuals to personally donate any amount from $1 up to $10,000!

Below is the first version of the New Vision, which was submitted for consideration to the Salisbury, MD Downtown Historic District during their May meeting.  At that meeting, Ms. Lee Whaley, Co-Founder of the Salisbury Arts and Entertainment District initiative, reported to me “Our presentation on the mural was positively received by all attending the hearing. Those in the audience liked the design and vibrant new colors….”

 

 

"After some discussion, the (conservative) historic commission voted favorably but they felt the colors were “too trendy and not in sync with the surrounding properties.” They voted to accept a configuration of the four herons.…”  Ms. Whaley continued, ”They are asking that the colors be limited to blue and green, the thought being that while we are located in an emerging urban city with a new, lively arts focus, they would like to see the mural reflect the colors of nature – the blue heron, sky, adjacent Wicomico River and city green space.

That is a great rationale for a color scheme!  I dove right in and worked through several iterations, and submitted this as a final draft: 

 

NICE!!!

 

Ms. Whaley and I discussed some funding options and I took a little tour online for "Funding Art Projects" which led me to USA Projects.  The site made it all sound so easy!  I started to create my proposal--all went well, except that I had to make a promotional video for the project!  Never did anything like that before!  I free-styled it, as you can tell; but just began speaking about the various aspects of the project...tough at first, but after about ten takes, I had the first 15 seconds figured out!  On to the next aspects of the proposal until, a couple hours later...:

 

 

 

So, HERE WE GO!  This promises to be an interesting process--it already is!  Stay tuned for updates, you can click "Follow" on the New Vision Heron Mural project page:  http://www.usaprojects.org/project/new_vision_heron_mural

 

Take note of the perks available for certain levels of contribution, from custom note cards, process artworks and limited edition postage stamps reminiscent of the classic "Duck Stamp"!  Fun stuff for your personal collection, and very unique!

 

You can also follow me on Facebook:  https://www.facebook.com/james.thatcher.1291

 

Discovering the Broken Obelisk

A sculpture by Barnett Newman, an Abstract Expressionist painter, a precursor to Minimalism; “The Broken Obelisk” is a geometric steel work residing in the courtyard of Mark Rothko’s Chapel in Houston, Texas.

Interestingly, the work was originally installed at the Corcoran Gallery of Art in Washington, DC. Located on the corner of 17th Street and New York Avenue, NW, it was essentially at the entrance of the Corcoran College of Art and Design. My Alma Mater! Displayed there in the late 1960’s “The Broken Obelisk” was considered very controversial, seen as a reference to the Washington Monument and the social discord of the era.

I did visit the Rothko chapel during a short stay in Houston, however my path to realizing the piece followed a study of line drawings based on the square, and its axis’.



 Discovering the piece didn’t have to do with seeing the sculpture. Discovering that it was hidden deep inside the square, only to be found by deconstruction…an excavation…that was exciting!  Recognizing it, discovering it through a process of ideation, in the process of searching out an idea was more than a surprise.

Believing that something worthwhile will be had in searching out the basic, the fundamental, the essential, before you see it, is perhaps the important point here. 

Hope believes that vision will play out meaningfully, given the chance; even in the simplest exercise.

Ideation Drawing, 2013, 8 1/2" x 11"

Studies for "Discovering the Broken Obelisk", 2013, The Art Library, Brooklyn, NY

Who knew that this ideation would lead to a complete break from 25 years of abstract expressionist/surrealist artwork?  Nearly 5 years later I continue investigating related imagery alluding to order and peace beyond our everyday experience.

"Oblique Tetrahedron", 2017, 36", Welded Steel with Powder Coat Finish,  © James Thatcher

http://jtnwdc.wixsite.com/jamesthatcherarts

  



Making It!

“Process”:  The steps you go through as you make art; it's the act of creating… I wanted to describe my own process with these recent works.  My motivation (in terms of process) was to create some paintings quickly, cleanly, but with random elements—to quote the Wizard of Ads, “surprise is the beginning of delight”*.  I also felt pretty familiar with my subject matter, having used it extensively in art school.

I’ve worked with stencils in one form or another since my third year at the Corcoran College of Art and Design…stencils and spray paint were the go-to materials for these pieces, given my stint as graffiti guy during the heady days of the 80's.

I was interested in creating shoe imagery without distortion so I was off to the internet for a quick search…the “Classic Evening Pump” was the first stop, but so many variations!  I decided to choose shoe profiles that were very different from each other, so I chose the Peep Toe Sling Back, a Strappy Platform, and a nice Open Toe variation as well.

 

I spent a good amount of time paring down and re-interpreting to develop iconic profiles of each design.  The Strappy Platform had this split sole that had to be consolidated…big design changes, but consistent in scale and proportion. 

 I use manila file folders as stencil stock because they are fairly heavy weight but are also easy to cut with an exacto knife, and you can use them on a light table to transfer your designs. 

I picked up some big paper doilies and plastic needlepoint forms in a local craft department to use in the backgrounds and they worked really well!  The doilies have a lace-like quality without being exceedingly delicate, and the tiny grid of the needlepoint forms is delicate while being thoroughly contemporary. 

I create washes by scrubbing lacquer thinner into a preliminary coat of spray enamel.  These washes gather in  the textural underpainting.

 


It isn’t hard to see some of these as finished paintings without any “subject matter”…That may be the image of the future.  For now, an interesting background is what I need.

 

I place my stencil and wonder…am I seeing the most interesting part of the painting thru the stencil, or am I putting the shoe in quiet section of the background?  All of this work, all of these decisions before actually applying the subject to the painting!  Don’t mess it up now!

 

Don’t let the subject ruin the artwork!  The subject always has a precarious role in my artwork…the shoe is not necessarily the most important aspect of these paintings!  Painting is the most important part of my paintings!



 

This is “Process” in painting:  the process is the artwork;  the subject matter is not the artwork…the act of painting is the important part of the painting, not the subject. 




Perhaps the subject matter motivates me to paint…but the wonder of creating, the process of painting is more excellent 

than depicting stuff.

 

This results in a painting that will always be a nice painting!  Generations from now this will be the same fresh and interesting piece that it is in 2013, because it's about painting, and exploring materials and processes.

 

 

"Slam Pump"   James Thatcher     Copyright     2013

8" x 10"     Spray Enamel on Prepared Paper

$100 Framed and Shipped   

 

Painting # 69/72 of an ongoing series.

 

 

 

*Roy H. Williams, "Secret Formulas of the Wizard of Ads", 1999

 

Instant Gravitas

Upon the suggestion of +Donna Moran, I created a quick stamp image...

 

 

Adding the word "FOREVER" to your image changes everything!  I recommend it to all of my artist friends--instant gravitas!  Granted, any word will change your piece, but what a word!  Thanks Donna...who knew!?

 



Andrew Warhola

Concerning Andy Warhol

           I never met Andy Warhol but I was removed from his presence once.

 

 

 

But that presence seems to inhabit plenty of art work these days…my own included.   Whether I am manufacturing cabinets or knocking out dozens of paintings, the foray into production work hearkens to that 60’s Factory aesthetic; and pays homage. 

I’m surprised to consider The Factory as a precursor to some classic Minimalist artists and their use of industrial practices.  Picture their artwork (as different as it could be both visually and in attitude) as being directly influenced by Warhol:  The cube sculptures of Sol LeWit, the boxes of Donald Judd…He brought multiple imagery to contemporary art, as well as mass production, although the cited Minimalists pursued different ends and means.  Curious….

Portraits of Campbell soup cans (or was that Still Life?) were the uncomfortable birth of something different; made more so by its proximity to the triumph of Abstract Expressionism.  In the immediate wake of the introspective Abstract Expressionists came one who depicted the plainly visible world in iconic fashion. 

Similar to The Ashcan School, with its own depictions of the everyday, Warhol also staked out the territory of everyday life (the boring) as subject matter; as well as the controversy of “urban realism”*.  Consider the early Warhol as an extension of this classic New York interpretation of art/life….

Fun stuff!  …And what about Mr. Brainwash!?

 

*  Weinberg, H. Barbara. "The Ashcan School". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/ashc/hd_ashc.htm (April 2010)  



After nearly 30 years I've rediscovered the high heel shoe as subject matter...above is a selection from the current collection;  all measure 8" x 10" and are rendered in stencils, spray paint and solvents.  Available individually or in numbers to create a fetching array! 

Background:  In 1982 while a 3rd year student at the Corcoran School of Art in Washington, DC I was participating in a public art project sponsored by COLAB from New York City.  A buddy found an abandoned high heel shoe and casually offered it to me.  My assemblage aesthetic kicked in:  I fastened the shoe to an equally abandoned cymbal stand and beheld a delightful result!

Much studio work and numerous unauthorized public street artworks evolved from that initial artistic connection.  Good times ensued:  good associations, good connotations, notoriety...easy to digress!

 

 

Not to re-live the past but surprised to find myself re-visiting the imagery...with some different styles!  I was looking for work to follow up some stencil based valentines I was able to find venues for; thinking about seasonal subject matter I threw the high heel shoes into the mix of spring flowers, sports references, seashells, autumn leaves, snowflakes and stars...never got past the shoes!

 

Stay tuned for more on the subject!

James