November 2010 • Bayview, Wisconsin
This month I visited the impressive studio of Charles Dwyer, Caggio's featured artist for November/December. South of downtown, in Milwaukee's charming enclave Bayview, I met with this prolific and imaginative artist. With his show quickly approaching (November 19 - December 30)-- entitled Ash Paintings-- I sat down with the artist, a Wisconsin native, and discussed his new body of work. Surrounded by his beloved animals (including Napoleon the dog, and two curious felines), his vintage cream-city brick loft infused with sunlight, I marveled at Dwyer's working space-- both physical and energetic. I took in immense wall space, grand paintings, a myriad of art supplies and materials, bookcases packed and European magazines, vast collections of photography, research areas, color theory studies, and hand-written notes dotting walls and work tables-- only briefly unattended to speak with me for this interview.
There is much written about Charles Dwyer, a painter well-known over two decades both nationally and internationally for his female portraits-- mixed media masterpieces-- elaborately staged compositions layered with oil paints, pastels, collage, and photography. The artist is most recognized for his striking portraiture and perhaps just as well known for his restorative work. For over 15 years he has worked to restore and recreate murals, stained glass, marbleizing and mosaics in historical landmarks and churches nationwide. Interestingly, a 12-week job in Sioux Falls recently-- marbleizing grand columns in St. Joseph's Cathedral-- was a driving force behind Ash Paintings. The art of marbleizing requires the ability to imitate the look of polished marble with paint and glazing-- making it look unintentional-- to work with a controlled spontaneity. Working extensively with these opposing principles laid the groundwork for Dwyer to immerse himself in a new series of paintings.
I was introduced to Dwyer's new work-- initially, quite surprising-- as I had only known his romantic and impressionism-like beauties. This was truly magical-- an absolute departure from what the artist is known for. Striking as they are mysterious, I was in awe. His wall-size to mid-size paintings and smaller portraits invited me into gritty abstract landscapes-- organic, symbolic, emotion filled and textural-- keeping up a spontaneous and active momentum of imagery-- like a series of vignettes in lucid dreaming, all in a cohesive palette consisting of one key ingredient. Ash.
Artistic process has a moment of conception, oftentimes spontaneous. In Dwyer's case, using leftover torn paper as a dustpan and sweeping ashes from his fireplace. The transformation of oak firewood into ash-- altering the paper surface-- resulted in rich tones and textures reminiscent of pastels. With decades of study into all forms of mixed media, years of expertise in drawing and painting-- combined with knowledge of age-old restorative techniques-- Dwyer was able to take this simple organic material, and pioneer a new technique.
In terms of technique, Dwyer's Ash Paintings are quite literally, made of ash. Gessoing over his own canvases-- underprinted with old paintings-- Dwyer then applies polyurethane varnish, sifting and rubbing gravel size coals into the surface, shaking the mixture-- enclosed canvas in industrial strength plastic-- until it coats the surface just so. Also in the mix-- bits of French dictionaries-- burned and scattered in the now tactile surface that begins to take on irregularities found in lunar landscapes. Why French? "Because it is the most beautiful language," the artist replies. I can't help but agree. To top it off, a mixed-media foreground: oil paint, marble powder, linseed oil, oil crayons, conte pencils, carbon paper, pastels-- applied with hand-made brushes-- commencing this new direction in Dwyer's work.
Ash-- the basis for Dwyer's paintings both literally and figuratively-- is complex with symbolism. As the new collection is very personal to the artist, I wanted to understand the nature of choosing such a loaded symbol. Ash itself-- crystals and fragments resulting from burning-- in this case oak firewood-- brings to mind the cycle of life and death; transformation; rebirth. "Ashes to ashes" in western religious tradition signifies a sorrowful reminder of humanity's imperfection and impermanence. For Dwyer however, ash makes up a landscape to which concept runs deep and imagery abounds: acknowledgment of self and mortality; conception to death; sexual imagery and reproduction. Dwyer candidly reveals that this new work has been liberating-- however risky-- yet profoundly honest; as abstraction is free from the confines and limitations inherent in commercial art.
I enjoyed learning first-hand about Dwyer's work and innovative process; I was inspired by his prodigious body of work and exciting new departure.
We look forward to the upcoming show with Caggio, sure to be a phenomenal collection of work!
This month I visited the impressive studio of Charles Dwyer, Caggio's featured artist for November/December. South of downtown, in Milwaukee's charming enclave Bayview, I met with this prolific and imaginative artist. With his show quickly approaching (November 19 - December 30)-- entitled Ash Paintings-- I sat down with the artist, a Wisconsin native, and discussed his new body of work. Surrounded by his beloved animals (including Napoleon the dog, and two curious felines), his vintage cream-city brick loft infused with sunlight, I marveled at Dwyer's working space-- both physical and energetic. I took in immense wall space, grand paintings, a myriad of art supplies and materials, bookcases packed and European magazines, vast collections of photography, research areas, color theory studies, and hand-written notes dotting walls and work tables-- only briefly unattended to speak with me for this interview.
There is much written about Charles Dwyer, a painter well-known over two decades both nationally and internationally for his female portraits-- mixed media masterpieces-- elaborately staged compositions layered with oil paints, pastels, collage, and photography. The artist is most recognized for his striking portraiture and perhaps just as well known for his restorative work. For over 15 years he has worked to restore and recreate murals, stained glass, marbleizing and mosaics in historical landmarks and churches nationwide. Interestingly, a 12-week job in Sioux Falls recently-- marbleizing grand columns in St. Joseph's Cathedral-- was a driving force behind Ash Paintings. The art of marbleizing requires the ability to imitate the look of polished marble with paint and glazing-- making it look unintentional-- to work with a controlled spontaneity. Working extensively with these opposing principles laid the groundwork for Dwyer to immerse himself in a new series of paintings.
I was introduced to Dwyer's new work-- initially, quite surprising-- as I had only known his romantic and impressionism-like beauties. This was truly magical-- an absolute departure from what the artist is known for. Striking as they are mysterious, I was in awe. His wall-size to mid-size paintings and smaller portraits invited me into gritty abstract landscapes-- organic, symbolic, emotion filled and textural-- keeping up a spontaneous and active momentum of imagery-- like a series of vignettes in lucid dreaming, all in a cohesive palette consisting of one key ingredient. Ash.
Artistic process has a moment of conception, oftentimes spontaneous. In Dwyer's case, using leftover torn paper as a dustpan and sweeping ashes from his fireplace. The transformation of oak firewood into ash-- altering the paper surface-- resulted in rich tones and textures reminiscent of pastels. With decades of study into all forms of mixed media, years of expertise in drawing and painting-- combined with knowledge of age-old restorative techniques-- Dwyer was able to take this simple organic material, and pioneer a new technique.
In terms of technique, Dwyer's Ash Paintings are quite literally, made of ash. Gessoing over his own canvases-- underprinted with old paintings-- Dwyer then applies polyurethane varnish, sifting and rubbing gravel size coals into the surface, shaking the mixture-- enclosed canvas in industrial strength plastic-- until it coats the surface just so. Also in the mix-- bits of French dictionaries-- burned and scattered in the now tactile surface that begins to take on irregularities found in lunar landscapes. Why French? "Because it is the most beautiful language," the artist replies. I can't help but agree. To top it off, a mixed-media foreground: oil paint, marble powder, linseed oil, oil crayons, conte pencils, carbon paper, pastels-- applied with hand-made brushes-- commencing this new direction in Dwyer's work.
Ash-- the basis for Dwyer's paintings both literally and figuratively-- is complex with symbolism. As the new collection is very personal to the artist, I wanted to understand the nature of choosing such a loaded symbol. Ash itself-- crystals and fragments resulting from burning-- in this case oak firewood-- brings to mind the cycle of life and death; transformation; rebirth. "Ashes to ashes" in western religious tradition signifies a sorrowful reminder of humanity's imperfection and impermanence. For Dwyer however, ash makes up a landscape to which concept runs deep and imagery abounds: acknowledgment of self and mortality; conception to death; sexual imagery and reproduction. Dwyer candidly reveals that this new work has been liberating-- however risky-- yet profoundly honest; as abstraction is free from the confines and limitations inherent in commercial art.
I enjoyed learning first-hand about Dwyer's work and innovative process; I was inspired by his prodigious body of work and exciting new departure.
We look forward to the upcoming show with Caggio, sure to be a phenomenal collection of work!
