IDENTITY CRISIS: hanging by a thread
4x4" fingerprint, silver and gold marker on coated paper
9x9" ash frame
4x4" fingerprint, silver and gold marker on coated paper
9x9" ash frame
IDENTITY CRISIS: spinning out of control
4x4" fingerprints, graphite, water color pencil, silver marker on coated paper
9x9" ash frame
4x4" fingerprints, graphite, water color pencil, silver marker on coated paper
9x9" ash frame
IDENTITY CRISIS: pressure cooker
4X4" fingerprint, graphite, silver marker on coated paper
9x9" ash frame
4X4" fingerprint, graphite, silver marker on coated paper
9x9" ash frame
IDENTITY CRISIS in the thick of it
4x4" fingerprint, graphite, silver marker on coated paper
9x9" ash frame
4x4" fingerprint, graphite, silver marker on coated paper
9x9" ash frame
IDENTITY CRISIS: the kiss
4x4" fingerprints, graphite, ink, gold marker
9x9" ash frame
4x4" fingerprints, graphite, ink, gold marker
9x9" ash frame
THE CIC SERIES:
THE CiC is code for The Sea I See
THE CiC: IN MY HEAD
# 1 Sandbar #2 cloud bank #3 rain #4 sunrise
36x36" acrylic on canvas
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THE CiC: I draw the line where water meets sky
9x9" framed in natural northeastern ash
acrylic on komatex board
9x9" framed in natural northeastern ash
acrylic on komatex board
EXPOSED #1
36" X 48" acrylic and graphite on canvas
PETRIFIED TRUNKS 1, 2, 3
20"x20" acrylic and graphite on canvas
handwriting on the wall
an interactive exhibit
at the
South Dakota School of Mines and Technology
Rapid City, SD
01.16-02.20.2015
handwriting on the wall
present tense
impossible/crucial
and
signature piece
synthesize a worldview in just a few words.
If art is about nothing else, it’s about communication.
The four painted/drawn wall installations are open to interpretation depending on you, the viewer’s, point of view.
The act of writing on the wall is immediate and direct with each stroke making up part of the text/drawing.
Three of the gallery walls have a series of painted grey squares placed horizontally across each wall. In rote fashion, each of three phrases is repeated over and over again providing a pathway to the brain where the concept takes hold.
Much of my work references art of the past. Although these painting/drawings look nothing like the polyptychs [multiple panels], triptychs [3 panels], and diptychs [2 panels] of Italian Renaissance painting, they nevertheless pay homage to those compositional devices. Another reference is to the Minimalist aesthetic of the 1960s and 70s where a subject is revealed by means of its bare essentials, hence the simple squares and rectangle, with only a couple of words written across each
series, clarifies the concept.
Survival, in one way or another, is the overriding theme of the exhibit.
‘handwriting on the wall,’ can be read many ways. It defines the actual act of ‘writing on the wall’ as well a sense of foreboding by inferring such diverse issues as climate change or the survival of cursive writing as a way of creating synapses in the brain.
This ancient expression foretells impending doom as an inevitable fact.
The idiom has its origins in the Old Testament’s Book of Daniel, Chapter 5, where the Babylonian King summons the mystic Daniel, a captive Israelite, to interpret the mysterious disembodied ‘handwriting on the wall.’ The phrase warns of doom. No one listens. That night the King is killed while his kingdom falls into the hands of the invading Persians.
‘present tense’ refers to a grammatical time-frame that gives structure and uniformity to speaking or writing about our relationship to the here and now.
It also defines the uneasy state of the world.
‘impossible/crucial’ is my definition of everything that matters in life. The list is endless: family, relationships, health, the environment, security and peace name just a few.
Many situations loom dangerously dark and seemingly ‘impossible’ but it is ‘crucial’ that we find solutions to these pressing problems if we are to survive intact.
‘signature piece’ is an interactive participatory drawing.
Cursive writing and drawing are directly related to one another. The first conscious drawing each of us creates is our own signature. We perfect it until it becomes a personal logo.
Our signatures stand in our stead when we cannot be present. They are legally binding.
Viewers are invited to write their signatures on the wall as part of the fabric that will create the overall interconnecting structure of the piece. The rectangular gives form to the diversity that mixes within.
What child doesn’t want to write or draw on the walls.
RT Livingston
Apex Gallery
January 16 – February 20, 2015
present tense
impossible/crucial
and
signature piece
synthesize a worldview in just a few words.
If art is about nothing else, it’s about communication.
The four painted/drawn wall installations are open to interpretation depending on you, the viewer’s, point of view.
The act of writing on the wall is immediate and direct with each stroke making up part of the text/drawing.
Three of the gallery walls have a series of painted grey squares placed horizontally across each wall. In rote fashion, each of three phrases is repeated over and over again providing a pathway to the brain where the concept takes hold.
Much of my work references art of the past. Although these painting/drawings look nothing like the polyptychs [multiple panels], triptychs [3 panels], and diptychs [2 panels] of Italian Renaissance painting, they nevertheless pay homage to those compositional devices. Another reference is to the Minimalist aesthetic of the 1960s and 70s where a subject is revealed by means of its bare essentials, hence the simple squares and rectangle, with only a couple of words written across each
series, clarifies the concept.
Survival, in one way or another, is the overriding theme of the exhibit.
‘handwriting on the wall,’ can be read many ways. It defines the actual act of ‘writing on the wall’ as well a sense of foreboding by inferring such diverse issues as climate change or the survival of cursive writing as a way of creating synapses in the brain.
This ancient expression foretells impending doom as an inevitable fact.
The idiom has its origins in the Old Testament’s Book of Daniel, Chapter 5, where the Babylonian King summons the mystic Daniel, a captive Israelite, to interpret the mysterious disembodied ‘handwriting on the wall.’ The phrase warns of doom. No one listens. That night the King is killed while his kingdom falls into the hands of the invading Persians.
‘present tense’ refers to a grammatical time-frame that gives structure and uniformity to speaking or writing about our relationship to the here and now.
It also defines the uneasy state of the world.
‘impossible/crucial’ is my definition of everything that matters in life. The list is endless: family, relationships, health, the environment, security and peace name just a few.
Many situations loom dangerously dark and seemingly ‘impossible’ but it is ‘crucial’ that we find solutions to these pressing problems if we are to survive intact.
‘signature piece’ is an interactive participatory drawing.
Cursive writing and drawing are directly related to one another. The first conscious drawing each of us creates is our own signature. We perfect it until it becomes a personal logo.
Our signatures stand in our stead when we cannot be present. They are legally binding.
Viewers are invited to write their signatures on the wall as part of the fabric that will create the overall interconnecting structure of the piece. The rectangular gives form to the diversity that mixes within.
What child doesn’t want to write or draw on the walls.
RT Livingston
Apex Gallery
January 16 – February 20, 2015
AIR
IMPOSSIBLE/CRUCIAL is my definition of everything that matters in life, in this case…oxygen.
With deforestation, we have created a global clean oxygen crisis. The situation is becoming impossible to reverse,
yet it is crucial we do so if we are to continue to inhabit The Earth.
IMPOSSIBLE/CRUCIAL: LIVE OAK is a series begun in 2013.
THE TREE serves as a metaphor for clean air and the relationship we have with nature.
The TREE takes in life-threatening carbon dioxide and exhales oxygen letting us breathe it in.
IMPOSSIBLE/CRUCIAL: LIVE OAK BARREN
LAS CANOAS SBCA #2
acrylic on canvas
triptych 36" X 108"
2013
LAS CANOAS SBCA #2
acrylic on canvas
triptych 36" X 108"
2013
IMPOSSIBLE/CRUCIAL: LIVE OAK BARREN
LAS CANOAS SBCA #3
acrylic on canvas
triptych 20" X 60"
2013
LAS CANOAS SBCA #3
acrylic on canvas
triptych 20" X 60"
2013
HIGH TENSION: LIVE OAK
ARCADY MONTECITO CA
graphite, colored pencil, water color crayons on paper
3' X 5'
ARCADY MONTECITO CA
graphite, colored pencil, water color crayons on paper
3' X 5'
WATER
and our connection to it
has had me in its grips since the mid 1970s
Without clean WATER we die.
The CiC is a series begun in 2009.
The CiC: "I draw the line where the water meets the sky"
expresses both the physical act of drawing a line at the horizon
as well as defining
my environmental point of view
The CiC translates to The Sea I See.
The series, begun in 2009, in Waldport Oregon continues
to explore the edge of our continent
where land, water and sky touch.
I travel far and wide to capture the essence of our waters.
THE CiC:
water water everywhere
acrylic on canvas
diptych 24" X 72"
water water everywhere
acrylic on canvas
diptych 24" X 72"
THE CiC:
I draw the line where the water meets the sky: sunset
SBCA
acrylic on canvas
diptych 36" X 96"
I draw the line where the water meets the sky: sunset
SBCA
acrylic on canvas
diptych 36" X 96"
THE CiC: SILVER SEA/PURPLE STORM
SBCA
acrylic and graphite on canvas
triptych 20" x 60"
SBCA
acrylic and graphite on canvas
triptych 20" x 60"
THE CiC:
I draw the line where the water meets the sky #1
SBCA
acrylic on canvas
triptych 20" X 60"
I draw the line where the water meets the sky #1
SBCA
acrylic on canvas
triptych 20" X 60"
THE CiC:
I draw the line where the water meets the sky #3
SBCA
acrylic on canvas
triptych 20" X 60"
I draw the line where the water meets the sky #3
SBCA
acrylic on canvas
triptych 20" X 60"
THE CiC:
IMPOSSIBLE CRUCIAL
WATER AIR
SBCA
acrylic on canvas
triptych 36"X 108"
IMPOSSIBLE CRUCIAL
WATER AIR
SBCA
acrylic on canvas
triptych 36"X 108"
THE CiC:
IMPOSSIBLE CRUCIAL
VISTA LAND SEA SKY
SBCA
acrylic on canvas
diptych 36" X 96"
IMPOSSIBLE CRUCIAL
VISTA LAND SEA SKY
SBCA
acrylic on canvas
diptych 36" X 96"
THE CiC:
I draw the line where the water meets the sky
SBCA
acrylic on canvas board
diptych 8" X 20"
I draw the line where the water meets the sky
SBCA
acrylic on canvas board
diptych 8" X 20"
DRAWINGS
THE CiC
IRISH BEACH CA
acrylic on canvas
triptych 20" X 48"
IRISH BEACH CA
acrylic on canvas
triptych 20" X 48"
DRAWING
BOLDER DRAWINGS
Pastel on Rocks
Springs East Hampton
1979
Pastel on Rocks
Springs East Hampton
1979
THE CiC:
Mendocino CA 2010
Terrigal, NSW AU 2013
Irish Beach, CA 2012
Mendocino CA 2010
Terrigal, NSW AU 2013
Irish Beach, CA 2012
TREES
SLIDE PAINTINGS 1967
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