AIR SONNET Borghi Fine Art is please to introduce to the public, recent works by Clintel Steed titled â€œAir Sonnetâ€?. In these series of paintings some aerial views and other close images of landscapes the artist expresses his connection with the modern world. His observation of a constant evolving universe is placed on the canvas like rhythm in a song. Clintel has a distinctive palette that is uniquely his own. His use of color and sense of space makes you think of abstract painting in motion. His creative eye presents to the viewer the world on many different spheres creating a beauty that is forever changing but he captures it at a moment in time to last forever like a poet writing a poem. We are pleased to represent him and his recent works. We would like to thank Marina LaSala for photographing all the works for reproduction, Michael Borghi and Laura Borghi for organizing the exhibition and Justin Maury for his creative work with the catalogue. February 3rd, 2011
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My work is about an explosion of the eyes seeing the world. There is something beautiful about the experience of just observing it, and objects around us. As a painter I analyze this experience and put it on my canvas as a poet writes a poem. The world is constantly evolving around us and I want to capture this moment or sensation on a canvas so it can last forever. If one observes the last hundred years of art with its evolution then they will understand where I began and where I plan to go. The changes are amazing. The progress of technology, the urban landscape! In my paintings I try to capture these phenomenons: using computers, TVs, news, and even aerial views. I try to express what the modern world is leaving on the human psyche, how it has changed us; how we experience life through technology, speed of highways, and even global warming! In my paintings it is for a search in oil paint. The image is most important to me. How can I use the oil paint? I want to capture the human eye to transform life experience into something that becomes a painting. How can I create the image that takes all of this energy? How can I show it on canvas? I believe painting has its own time and energy but the source of it comes from living in this ever changing world. I was inspired by aerial views and decided to make this series of paintings based on images that have inspired me. When I see the earth from that distance it reminds me of a musical rhythm. In many ways, the aerial series are purely about, movement, music or poetry something captured and always moving. It is like hip hop. The beats and voices are represented by lines and colors coming together to create a melody of paint. The series is not about large areas of color like paintings by Mark Rothko, but it is more like Cézanne’s way of looking at the world. Cezanne’s landscapes of mountains are creating colors and marks that become epic. It’s happening simultaneously, the lines and colors exist by themselves and at the same time they form the mountain. This occurrence excites me and makes me paint the aerial views. I am trying to create an image of aerial scenes that consist of rhythm, music, poetry, colors and lines with a sense of movement in time, our time and the future. Working on these series of paintings I have tried to see how far I can push my sense of color, space and time. I have chosen each piece thinking how it can be translated into a painting and at the same time have the subject that I believe are exciting to look at.
Still Life with Ducks and Found Objects 2008 Oil on canvas 60 x 60 inches Signed, titled and dated verso
“Still life and the Reflection from studio window I started working on after the black rage series. I did them just two get back into painting……….Just painting about nature and not anything political. The still life became about manipulating space.”
Reflections from Studio Window 2009-2010 Oil on canvas 36 x 72 inches Signed, titled and dated verso
â€œStudio window was about space reflected and bent from a window.â€?
Heathrow Airport 2009-2010 Oil on board 63 x 82 inches Signed, titled and dated verso
“I painted the bottom half in 2009 and felt it was incomplete, it needed to be bigger. I guess that is just me being a painter……is the image complete? So I added the other part and then it came together, movements and passages that are happening………now that excites me.”
Athens Airport 2010 Oil on canvas 48 x 64 inches Signed, titled and dated verso
â€œI used powerful colors for this painting to really emphases on the forms coming together to produce a rhythmic sense which makes the painting come alive.â€?
Heathrow Airport II 2010 Oil on board 61 x 56 inches Signed, titled and dated verso
“This one happened rather fast, more pure, like “Broadway Boogie Woogie” by Mondrian. It feels like that to me….”Broadway Boogie Woogie”, turned upside down.”
Aerial View of London Train Station 2010 Oil on canvas 56 x 61 inches Signed, titled and dated verso
“Why I choose the images I do? It’s because they always have this dominating thing that happens inside a landscape, always moving like a rap or hip hop song”.
Close View of a Water Station 2010 Oil on board 37 x 96 inches Signed, titled and dated verso
“I was very excited about this painting…..its almost like sails, scientific, a body moving inside the landscape.”
Close View of Soil Water Farm 2010 Oil on canvas 64 x 60 inches Signed, titled and dated verso
“This one is a little bit different. I really enjoyed making this painting; again it is very rhythmic. All these things colliding together. It’s not abstract in a way like when I’m being emotional and taking a black brush and making a movement but about lines colliding together. It’s about shapes communicating with shapes.”
Aerial View of Rockport, Mass. 2010 Oil on canvas 34 x 32 inches Signed, titled and dated verso
â€œI painted this twice; there is a phonetic high energy inside this piece.â€?
Cork City 2010 Oil on board 55 x 66 inches Signed, titled and dated verso
â€œThis painting is a real focus on color! The greens the yellows becoming more intense and also the rythm of the shapes becoming more intense. And thats why I chose the image.â€?
Aerial View of Football Stadium 2010 Oil on board 49.5 x 48 inches Signed, titled and dated verso
â€œThere is something that goes back to Picasso or Van Gogh with this piece using little dots of paint. This in a way is like a modern day coliseum.â€?
Dobswall Bypass 2010 Oil on board 64 x 59 inches Signed, titled and dated verso
â€œThere is always some kind of major element driving me to the painting. When you look at how that yellow is! It is almost like a vein pumping and pumping that landscape. It has a flowing quality to it that I guess is almost musical.â€?
Aerial View of Robotic Legs I 2010 Oil on board 48 x 20 inches Signed, dated and titled verso
â€œI think this one is kind of nice. You have this energy that is happening. It is a vibration which is about rhythm in many ways.â€?
The Bleeding Heart of a Football Statium 2011 Oil on board 48 x 45 inches Signed, dated and titled verso
“This is almost like a living organism. When you look at a football stadium the inside is alive because of all the people and the outside is cold. It’s a lot about living in the 21st century”.
Aerial View of Robotic Legs II 2011 Oil on board 76 x 63 inches Signed, titled and dated verso
â€œThere is something special about each painting there is a lot of images and rhythm that draw me into the painting. When you think about landscapes and aerial views there is something that really slices the landscapeâ€?
Aerial View of a Football Stadium II 2011 Oil on board 48 x 24 inches Signed, titled and dated verso
â€œI started doing football stadiums because of living images you see.â€?
Born 1977 Salt Lake City, UT
EDUCATION: 2005: 2001: 1997: 1999:
Advanced Studies - New York Studio School of Drawing, Painting & Sculpture, NY MFA, Indiana University Art Institute of Chicago, Summer Program, Florence, Italy BFA Painting, Art Institute of Chicago
EXHIBITIONS: 2009: 2009: 2007: 2006: 2006: 2006: 2006: 2005: 2005: 2005: 2004: 2004: 2004: 2004: 2001:
St. Philips Church, Harlem, New York, November Bridge Art Fair, March 5-8 Sneaker D’el Art, Ellen’s Run Foundation, Southampton NY NY Studio School of Painting, Sculpture & Drawing: Advanced Research; Anne Becker & Clintel Steed St. Philips Church, Harlem, New York, May, Critique Group Concrete Walls, Los Angeles, California, March 31-April 29: Critique Group National Academy of Design, New York, May 20: Annual 181 Contemporary American Art. Solo Show: The Sugar Building Series, Mark Borghi Fine Art, Inc. Bridgehampton NY, August 17 Phallus, Vagina, Tomb, Tobey Fine Arts, Aug-Sept, NY Clintel Steed, Dan Abraham & Cathy Depasquale, New York Studio School, NY Harlem Loves Art, 121 W 123rd St, NY Group Show, ArtforHealing Gallery W 57th St, NY Searching for the Image: Six Artists from the New York Studio School, The Von Leibig Art Center, Naples, FL Clintel Steed & Jimi Hamilton, New York Studio School, NY MFA Show, Indiana University Art Museum, IA
PRESS: http://www.youtube.com/watch?v=0yDKOrRxzJY 2009: Art Critical, March 6, 2009 http://www.artcritical.com/pic-archive.htm 2006: Art Magazine issue 2005: The New York Sun, August 9, review of Phallus,Vagina,Tomb at Tobey Fine Arts, 2003: St. Petersburg Times, May 28, “Six Artists in Search of an Image” 2004: ArtforHealing.net, October 3 2004: Harlem Loves Art.net, November 14 1994: Salt Lake City Tribune, December 8, “Art Student Turns Life Around”
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