Life, Space & Hallucination

Life, Space and Hallucination Charles Clary, Shane McAdams and Jackie Tileston

KENISE BARNES FINE ART

on the cover: Jackie Tileston Closer Than They Appear, 2016 oil, oil enamel, glitter, pigment on linen 60 x 72 inches $9000.

Shane McAdams Organ Mountains, 2014 ballpoint pen, oil and resin on panel 48 x 48 inches $9000.

detail of landscape drawn with ballpoint pen

Shane McAdams Western and K, 2017 ballpoint pen, oil and resin on panel 48 x 48 inches $9000.

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opposite page: detail

Shane McAdams North Rim Lodge, 2017 ballpoint pen, oil and resin on panel 24 x 24 inches $4000.

Shane McAdams Horizon Salad, 2017 ballpoint pen, oil and resin on panel 48 x 48 inches $9000.

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Shane McAdams Firework, 2013 ballpoint pen, resin and oil on panel 48 x 48 inches $9000.

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Shane McAdams Blown Horizon, 2016 ballpoint pen and oil on panel 24 x 24 inches $4000.

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Shane McAdams Pen Blow #172, 2017 ballpoint pen and resin on panel 12 x 12 inches $1800.

Shane McAdams Pen Blow #173, 2017 ballpoint pen and resin on panel 12 x 12 inches $1800.

side view

Shane McAdams Pen Blow #175, 2017 ballpoint pen and resin on panel 12 x 12 inches $1800.

Shane McAdams Pen Blow #176, 2017 ballpoint pen and resin on panel 12 x 12 inches $1800.

Shane McAdams mixes experimental media such as ballpoint pen ink and resin with meticulously rendered hyper-realistic landscape painting. The paintings are closely aligned with the methods of their creation and the physical properties inherent within specific, mundane materials. Widely recognized as a master of this idiosyncratic stylistic mash up of media, McAdams’ work has been featured in wide-ranging publications such as Vogue Brazil, Arts and Science Journal and Aesthetica Magazine. His work has been exhibited extensively in the US as well as Hong Kong and London.

The artist lives and works in Wisconsin and New York.

SHANE McADAMS

STATEMENT

My work is about landscape in the broadest sense of that loaded term. I grew up in the desert Southwest, ringed by a horizon interrupted only occasionally by sandstone outcroppings. As a child I was visually taken by this sculpted topography, amazed when my father informed me that the layered strata of rock had been fashioned by years of water and wind.

My first creative explorations of the environment were crude: I pulverized sandstone blocks with a hammer, dug into cliff faces looking for minerals, and dredged the sand with magnets for iron filings that I cured into patties of iron oxide inside my father’s dip tobacco tins.

T hat land has continued to be a touchstone in my work, both as a symbol of process and as a source of content. I continue to be amazed at how the incremental effects of time can create something more structured and unique than I may ever make with my own hands. T his idea looms in my work as a reminder of human folly, and has led me to consider how my production as an artist relates to the actual source of inspiration, to the land itself.

My current work is a visual dialogue between natural and artificial forms, natural and artificial materials – those that look like nature versus those that are nature. In my work such forms are often analogs or traces of the methods of their creation, taking root in the physical properties inherent within specific, mundane materials such as Elmer’s glue, correction fluid, ballpoint pen ink and plastic resin, whose limits are stretched by subjecting them to non-traditional applications. T hese applications generate structures whose complexities belie the simplicity of their creation. T he processes I engage in reflect the physical forces that are constantly working to fashion and sculpt the natural landscape. I hope that my work will encourage one to consider the nature of what is artificial and what is natural, or universal, in painted and unpa inted realms.

- Shane McAdams

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Jackie Tileston Infatuation Engine, 2016 oil, oil enamel, spray paint, glitter, pigment on linen 72 x 60 inches $10,000.

Jackie Tileston’s paintings bring together a multiplicity of sources into a coherent - and sometimes discordant - whole, an attempt at a “unified field theory” of painting. Her paintings are influenced and formed by the history of abstraction, physics, traditional eastern imagery, Chinese landscape motifs and digital imaging.

There is a constant flux between atmospheric and graphic, abstract and figurative, quiet and chaotic forces. The materials are a juxtaposition of traditional fine art materials such as linen and oil paint with more avant-garde materials like enamel, spray paint, powdered pigment and glitter. The artist has been awarded the Joan Mitchell Foundation Painters and Sculptors Grant and John Simon Guggenheim Memorial Foundation Fellowship in Painting. Her work is in many public and private collections. Tileston teaches in the Graduate Fine Arts Department at The University of Pennsylvania.

opposite page: Jackie Tileston Closer Than They Appear, 2016 oil, oil enamel, glitter, pigment on linen 60 x 72 inches $10,000.

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Jackie Tileston Just Enough Now, 2016 oil, oil enamel, spray paint, pigment on linen 60 x 48 inches $9000.

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detail Jackie Tileston Everything #4, 2015 mixed media on paper 30 x 22 inches (unframed) $2500. (unframed) 34 x 26.5 inches (framed) $2800. (framed)

detail d e t a i l

Jackie Tileston
 Everything #5, 2015 mixed media on paper 30 x 22 inches (unframed) $2500. (unframed) 34 x 26.5 inches (framed) $2800. (framed)

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Jackie Tileston
 Everything #6, 2015 mixed media on paper 30 x 22 inches (unframed) $2500. (unframed) 34 x 26.5 inches (framed) $2800. (framed)

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Jackie Tileston
 Field Guide #6, 2014 gouache and collage on black paper 30 x 22 inches (unframed) $2500. (unframed) 34 x 26.5 inches (framed) $2800. (framed)

Jackie Tileston

Artist Statement

I am interested in creating paintings that bring together a wide multiplicity of sources into a coherent - and sometimes discordant - whole, an attempt at a “unified field theory� of painting. My paintings feed off of the history of abstraction, physics, traditional eastern imagery, Chinese landscape motifs, digital imaging, and other sources. There is a constant flux between atmospheric and graphic, abstract and figurative, quiet and chaotic forces. A medley of sources is orchestrated to create or reconstruct a world within the painting in which a new kind of sense is made - one in which the beautiful, absurd, sacred, and mundane can coexist. I do not find a conflict between meaning and visual opulence, between commercial culture and content, and I often purposefully cultivate an operatic sense of surface and reference. I am interested in the challenges of trying to forge a pictorial landscape in which anything could be included, but that seems to possess its own logic.

A re-reading of Foucault’s 1967 Of Other Spaces - Heterotopias essay was a recent inspiration since it perfectly defined the intent of much of my current work - to create paintings in which several different locations or spaces are made to coexist within one space. Ideas about how we construct our realities and selves through language, social structure, geography, and belief feed into this desire to juxtapose sites and images that might themselves be somewhat incompatible.

My work as a painter is to knit the world together in a kind of visual globalism. There is both a sense of idealism and anxiety that accompanies this endeavor - the desire to make a democratic garden of Eden, and concern about how to make sense of it and reconcile disparities.

I am interested in visual democracies, nomadic thinking, rearranging hierarchies, and trying to fuse personal expression with shared social and cultural spaces, in full pictorial glory. I want the work to transform its multiple sources into a stronger, weirder, and more complex pictorial version of the world.

- Jackie Tileston

Charles Clary Mememto Morididdle Movement #119, 2017 hand-cut paper and wallpaper on distressed drywall and found frame 20 x 20 x 6 inches $1000.

Charles Clary’s hand-cut paper three-dimensional “paintings” have become a sensation, generating thousands of social media likes every day. The artist uses paper to create a world of fiction and fabricated reality. Clary excavates hunks of wallpapered drywall, carving out mysterious portals and filling the void with dozens of layers of hand-cut paper. Fitting these new creations into reclaimed ornately carved, gilt picture frames further conflates the contemporary and the historic.

Clary is a professor of Visual Arts at Costal Carolina University, South Carolina.

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Charles Clary Mememto Morididdle Movement #115, 2017 hand-cut paper and wallpaper on distressed drywall and found frame 48 x 60 x 8 inches $5500.

Charles Clary Mememto Morididdle Movement #116, 2017 hand-cut paper and wallpaper on distressed drywall and found frame 24 x 15 x 6 inches $1000.

Charles Clary Mememto Morididdle Movement #117, 2017 hand-cut paper and wallpaper on distressed drywall and found frame 24 x 15 x 6 inches $1000.

Charles Clary Mememto Morididdle Movement #118, 2017 hand-cut paper and wallpaper on distressed drywall and found frame 22 x 14 x 6 inches $900.

installation

Charles Clary Miopic Hugg-a-Diddltosis Movement #3, 2014 hand-cut paper and acrylic on panel 16 x 11 x 4 inches $800.

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Charles Clary Hugg-a-Diddle Workup Movement #0.2, 2013 hand-cut paper and acrylic on panel 12 x 12 x 7 inches $500.

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www.kbfa.com

CHARLES CLARY

914 834 8077

STATEMENT

I use paper to create a world of fiction that challenges the viewer to suspend disbelief and venture into my fabricated reality. By layering paper, I am able to build intriguing land formations that mimic viral colonies and concentric sound waves. These strange landmasses contaminate and infect the surfaces they inhabit transforming the space into something suitable for their gestation. Towers of paper and color jut into the viewer’s space inviting playful interactions between the viewer and this conceived world. These constructions question the notion of microbial outbreaks and their similarity to the visual representation of sound waves, transforming them into something more playful and inviting.

- Charles Clary

K E N I S E B A R N E S F I N E A R T Was founded in 1994 on the belief that art is essential We a r e a g a l l e r y a n d a r t c o n s u l t i n g f i r m r e p r e s e n t i n g e m e r g i n g a n d m i d- c a r e e r, investment-quality artists. Our program includes over fifty artists working in a variety of mediums. The gallery mounts more than a dozen exhibitions annually in our exhibition space in Larchmont, NY as well as curating exhibitions for outside venues.

Kenise Barnes Fine Art is an experienced art consulting firm. We guide both residential and corporate collectors and work collaboratively with designers and architects to p r o v i d e a n d s o u r c e a r t w o r k f o r p r o j e c t s o f a l l s i z e s . O u r c l i e n t l i s t i n c l u d e s N e w Yo r k U n i v e r s i t y / L a n g o n e M e d i c a l C e n t e r, M o n t e f i o r e M e d i c a l C e n t e r, B a n k o f A m e r i c a A r t P r o g r a m , P f i z e r C o r p o r a t i o n , C i t i b a n k A r t A d v i s o r y, V i c e n t e W o l f A s s o c i a t e s , a n d numerous museums and private collectors.

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914 834 8077

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