___________________________________________________________ I am thrilled to be part of Clark County Open Studios here in Vancouver, Washington. In addition to showing where I work and how I work, I will be having a STUDIO SALE. The first 75 attendees receive a free and signed limited edition print. All paintings located at my studio are 75% off! NEW! Prints, cards and drawings STUDIO SALE DETAILS:
I love what Andrew Goldstein says about painting (in his interview with Hans Ulrich):
However, when it comes to the market, painting remains the paramount seller because it is, at the end of the day, a remarkably efficient piece of technology. It packs maximum visual power while taking up a minimum of three-dimensional space. No electricity is needed. It’s easily portable, universally readable, effortlessly Instagrammable, and, in some cases, easily resalable.
After a solo art show, it seems a month-long nap is necessary. It seems strange to go from being an extrovert (marketing, talking with clients, openings), to an introvert again. My wish is to keep the pace up, and engage with people in the same manner (mainly because it is so much fun), but it just isn't humanly possible.
My fear is that people will think I don't care about them during this period of hibernation. I do care immensely, and I am incredibly grateful for how supportive people are of my art life. Ultimately, I have to simply trust in the ebb and flow of life.
Does anyone else have this kind of experience whether it is art-related, or otherwise? Learn more about my art at: www.cynthiamosser.com
(Image: "Flaming June", 1895 by Lord Frederic Leighton.)
Oh yes! LEARN more about how WHIMSY, COLOR, and DESIGN infuses your interior spaces with LIFE and LOVE! CYNTHIA MOSSER Artist Talk Saturday, July 16th at Noon. AUGEN GALLERY 716 NW Davis Street Portland, OR 97209 augengallery.com +001 503.546.5056
As an ARTIST at the age of 46, what I know for sure is slow and steady wins the race. I used to burn myself out, running on adrenaline making art nonstop. I pace myself now. My work is currently at the framer in preparation for my Augen Gallery July 2016 solo show. I'd like a nap. I used to need to sleep for days after dropping off my work. Oddly enough, I feel I could even start anew... Image: Cynthia Mosser Fraternal Foliage (fancy) Mixed media on panel 24 x 24 in
Save the Date: Cynthia Mosser Solo Exhibition July 5-30, 2016 Augen Gallery 716 NW Davis Street Portland, OR 97209 augengallery.com Preview Wednesday: July 6, 5-7:30PM First Thursday: July 7, 5-8PM Artist Talk: Saturday, July 16 at NOON.
Mark and Rae Mahaffey of Mahaffey Fine Art studio, assisted the Northwest Patternist artists with the idea of how to print work using a monotype process (a one-of-a-kind print). Out of this experiment, nine artists (including myself) from the Northwest Patternist Group, will show their prints in a show titled TRANSFERENCE. I will show an installation of my cut up monotypes (see image below). Image: Cynthia Mosser Fraternal Foliage Installation, 2016 Monotype (colored pencil on Rives BFK paper) 44" x 28"
TRANSFERENCE Exhibition on view March 3–April 6, 2016 Autzen Gallery | Portland State University Neuberger Hall 2nd Floor Opening reception: Wednesday, March 30, 7–9:30pm Regular hours: Mon-Fri 10am-5pm 724 SW Harrison St Portland, OR 97201 Northwest Patternist artists are: Cynthia Mosser James K-M Mark R. Smith Matt Cosby Michael Knutson Rae Mahaffey Sally Finch Shu-ju Wang Tamara English
Curated by Mark R. Smith, PULL OF REPETITION is an exhibition in Portland, Oregon at Portland Community College (Sylvania Campus) Northview Gallery. The show looks at various ways artists use pattern within their work.
Runs Thursday, January 14 - Saturday, February 13, 2016. Artists: Cynthia Mosser James K-M Matt Cosby Michael Knutson Rae Mahaffey Sally Finch Shu-ju Wang Tamara English
There is something ultimately, decorative, feminine and complex about folk art. The shapes, stitch work, color, and overall feeling, whether it's a floral painted wall or lace from Alsace, France, reverberates with me.
Generally, there are no sharp edges. It is these rounded edges and motifs taken from natural elements that I like. Additionally, there is a strong element of time. The time in which it takes to create a piece, is quite long. Which leads one to the idea that it was also a very interior type of work. This idea of decoration is familiar to my eyes. As if I recognize the shapes from another life. Image source: hu.wikipedia.org
I want to start a dialogue about my art so the viewer can gain more insight into what I do and how I do it. In my work, I am trying to create a whimsical feeling with biomorphic shapes, color and value
changes. Whimsy is my necessity. Europe embraces whimsy easily through public sculpture, architecture and installation. This lighthearted feeling through imagery and art lifts one out of a serious mood. Whimsy creates a feeling of poetry in one's everyday life that seems missing in the USA.
Julie ALPERT, a Seattle-based artist/painter, exhibits a partially collaborative show of work called SPLAT at the Archer Gallery inside Clark College (Vancouver, WA). I love the work for its use of color, whimsy, pattern and arrangement within the gallery.
The show is based around one image, essentially an icon or symbol of layers of colorful splattered paint as it drips down the canvas/paper. The splats are created in a variety of materials: paint, paper, pen, and incorporate pattern, another reoccurring theme in Alpert's work. The splats are organized often in a grid-like pattern, perhaps alluding to organized chaos. The idea of the splat itself could certanly be related to a feeling or action: angst, whimsy, fun or simply the act of irreverence (or all at once).
In terms of the show, half of it was a residency where she taught students and half was her own. (I have posted only her work.) I appreciated her working with students, giving them an opportunity to see the workings of a gallery while incorporating her Splat idea.
gripe is that I want in on the fun too. (I want an interactive Splat
corner where I get to experience splatting!)
I realized I am a hedonist.
For example, I love great amounts of time where I can sit and daydream.
My work also has as an indulgent quality due to its curves and overflowing appearance. With that said, I decided to look into the idea further by reading the book Against the Grain or A Rebours by Joris-Karl Huysmans.
The book is about an aristocrat who holes himself up in an isolated villa and surrounds himself with luxury and excess. Image source:amazon.com
A work of mine was selected for the SUGAR RUSH exhibition at the EN EM Art Space in Sacramento, CA, USA.
Opening December 13, 2014 and running through January 17, 2015, the theme, SUGAR RUSH, showcases the varied ways in which artists interpret the theme of sugar.
Works were selected by guest judge and co-curator, Rhonda Coleman, (formerly of the Henry Art Gallery (Seattle, WA), the Corcoran Gallery (Washington, DC) and Univeristy of Southern California's Fisher Gallery.
Open Saturdays & Sundays 1-7 PM.
Weekdays by appointment.
Published in 1971, Living Well Is the Best Revenge
is Calvin Tomkins' account of the lives of Gerald and Sara
Murphy, two American expatriates who formed a group of
friends in France during the 1920s. Living in Antibes, France, they befriended artists and writers, including Cole Porter, Pablo
Picasso, Fernand Léger, Ernest Hemingway and Scott and Zelda Fitzgerald.
It was in Paris that Gerald Murphy first came across Cubist painting. This began a short career as a
painter from 1922 to 1929. He produced 15 works;
seven survive. Because of the death of his two young sons, he stopped painting. The title of the book (Living Well is the Best Revenge) comes from a thought that Murphy was happiest when he painted, and was never happy again because he gave it up (due to the loss of his sons).
As an artist myself, the question remains, "Either a comfortable life and lousy work, or a lousy life and beautiful work." (Ferdinand Leger). Can one have both?
Below: Gerald Murphy
(American, 1888–1964). Razor, 1924. Oil on canvas 32 1/16 x 36 1/2 in.
(81.4 x 92.7 cm). Dallas Museum of Art, Foundation for the Arts
Jennifer Steinkamp graced her presence upon the Portland Art Museum for a
lecture of her work 5/17/14. You should see her video work. I liken it to
moving paintings; the kind I would create. Maya is her tool.
I am absolutely intrigued by the color and shape combinations by German designer, André Britz. Not only do the changed fruit colors play with our perceptions, but their juxtaposition within the colored background suggest a sophisticated sense of design, and create a visually interesting portrait.
What is a pattern? Wikipedia provides an insightful entry...
A pattern, apart from the term's use to mean "Template"[a],
is a discernible regularity in the world or in a man made design. As
such, the elements of a pattern repeat in a predictable manner.
Any of the five senses may directly observe patterns. Conversely,
abstract patterns in science, mathematics, or language may be observable
only by analysis. Direct observation in practice means seeing visual
patterns, which are widespread in nature and in art.
Patterns have an underlying mathematical structure;
indeed, mathematics can be seen as the search for regularities, and the
output of any function is a mathematical pattern. Similarly in the
sciences, theories explain and predict regularities in the world.
In art and architecture, decorations or visual motifs may be combined and repeated to form patterns designed to have a chosen effect on the viewer. - Wikipedia
Cynthia Mosser (cynthiamosser.com) is an artist (painter) whose work is influenced by color, folk art, design, nature and whimsy. She is represented by the Augen Gallery and is a foundation art instructor at the Art Institute of Portland in Portland, Oregon USA.