andyvanoverberghe, Jennifer Griffo, Kyle Gossman & Matthew Waldron artshow @ Goodfoot
The Goodfoot will have an art opening Thurs. Aug 29th from 5-12. The show will be up until Sept 23rd. This months artists are andyvanoverberghe, Jennifer Griffo, Kyle Gossman and Matthew Waldron.
(an-dee van o-ver-berg)
A tree lived. I donít know where and I donít know when. Over time this tree branched out in random organic direction. This tree grew in a fractal pattern and grew to a random size. It was cut down at a precise height and sent to a mill where it was divided into slabs of specific proportion. These different slabs were transported to places you will never know and further cut down by different objects to deliberate specifications. Eventual pieces of the pieces crossed my path at a given place and a given time. Presented with only a small piece of the once breathing life form, a particular section of grain of a particular cut out section of this particular slab of wood from somewhere, somewhen, and somehow, my subconscious happened to see recognizable shapes and images based on the grain and layout of knots. So I drew what I saw.
Stone has a similar life story. I have a similar life story. It is vastly more complex and I could waste yours and my time writing pages about why I see what I see, why I think the way I do, and why I draw what I draw. Ink, stone, colored pencil, wood, and time all converge in a balance of design; dictated by my subconscious and translated into recognizable language. Pulling inspiration from a myriad of angles, my subconscious mind respects, dissects, and cultivates the differences between to fuses them into one. I push for the contrast yet maintain harmonic balance of elements, which are always present. The result is a mixture of elemental solids and ideas influenced by my experiences, my discipline, physical and metaphysical observation, connection, thought, geometric thought, touch, and crafted expression. This collision of timelines of the living universe presents my current artwork.
At the core be art and listen to the wind. Follow where it goes and float where it blows. Balance in the uncontrol, organic fractal rhythm, and the unforgiving random is key to the happiness of perspective.
is an artist from New York now living in Portland, OR. With no formal training she is driven by impulse and observation. Jennifer's work is prominently made up of acrylic paintings and ball point pen and graphite pencil drawings. She creates intimate surrealist landscapes and warped snapshots that hold the eye hostage and all seem to form spontaneously from their first mark on the paper or canvas. Her work has been shown around the Portland area for the past few years.
It seems that I canít shake my childhood obsession of drawing and painting aliens, creatures, and intertwined monstrosities. So I present to you my newest batch of bizarre beings. I have had a long lived fascination, awe, and at times paralyzing fear of the idea that aliens are out in deep space just waiting for the perfect time to visit. For most of my childhood I figured being abducted was a certainty in my future and I trembled before going to sleep always thinking that it could be the night they take me. For a long period a majority of my dreams would involve aliens visiting or abducting, some had kind motives and others malicious. The most powerful of these dreams being the complete takeover of Earth and enslavement of humans by a much more technologically advanced, powerful, and emotionally void species. To say the least I have been enthralled by the possibility of an alien species making contact and it has translated into a habit of creating images of alien creatures.
Aesthetically, I am far and away most attracted to visual images of surreal entities that people have conjured up, deities, monsters, mythical beasts, and interpretations of hallucinatory beings. My visual interest in these representations of imagined creatures and the impact the idea of aliens had on my childhood has led me to paint what I do. I paint in a way that allows my subconscious to decide what manifests on the canvas. I never have a formed idea of what I am going to create before I start and simply let it develop through the process, allowing me to be surprised by the outcome. I enjoy the process of painting these entities and I hope you enjoy looking at them.
Mathew S Waldron
is a displaced Canadian of broadly miscegenated Celtic-Barbarian ancestry. His interest in visual media has essentially there since the Preoperational Stage but was given its initial external reinforcement by the lovely Mrs. Hornet, who somehow spotted an aptitude in dubiously rendered digitigrade legs and opposable thumbs. By the Formal Operational Stage, hormones took over and further external reinforcement was unneccesary.
After erasing holes in sheets of paper for over a decade, a self-motivated creative understanding finally began to manifest in the late 1980s. A few public exhibitions of the crude results of this nascent understanding were made during this time. In the early 90s, the intuitively-motivated audio project 'irr. app. (ext.)' was launched, and this has been the focus of Waldron's output ever since -- visual work most often being created as an accompaniment to audio work rather than as an end in itself. Audio and visual collaboration with the seminal British audio project 'Nurse With Wound' began soon after the turn of the century, and collaborations with creative instigators such as Stilluppsteypa, R K Faulhaber, At Jennie Richie, Andrew Liles and various others have been ongoing.