W. David Powell

The Art of  W. David Powell

Venus does Venice, 2013

Venus does Venice, collage on paper, 14 x 11″, 2013

 

What does the W in your name stand for?

I see you are starting with easy questions. William.

Do all the things you do flow through your art practice of thinking and making? and/or are you thinking of it but maybe not doing it 24/7? 

While everything I do is not truly applicable to my art practice, much of my life revolves around it. I am      fortunate that my day job as a college art teacher focuses my thinking on the formal aspects of art making and design, so even when I am not making my personal work, a lot of my waking hours are spent in conscious thought about ongoing and gestating projects.

rio blanco riding society

From the archives of the Rio Blanco Riding Society, cut paper on collage, 20 x 16″, 2011

Do you know why you are doing what you are making visible to many others? Where does the urge come from, you think?

I am a maker—a creator. I supposed that I am wired that way. I don’t believe it is a rational decision. As you express it—it is an urge.

You are gifted and talented and do you see yourself as unique as well? How do you see yourself today as an artist? 

Thank you. I do not see myself as truly unique. I am constantly reminded by other artists, as well as by writers and scientists, that my quests are not unique, but have elements of universality.

How do you see the role of the artist today? Does it differ from the ancients? 

The truly ancients had elements of ritual and tribute that dominated their art. As patronage became a part of the process, perhaps this was somehow subjugated. I suppose my art is coming from a place that the surrealists were investigating… that of being a conduit for the unconscious and “invisible forces”.  I have no firm definition of the artist of today. The art world is very wide open now. There seem to be so many personal and subjective directions for creation that it is both vast and mercurial.

DP. peasant dance_10x16_2013

Peasant Dance, Cut paper collage on found picture, 16.25 x 10″, 2013

 

Do you believe artists have a responsibility outside of themselves and towards their culture in any way?

Culture seems global now—and corporate. I have no debt to it. Community seems more appropo to creating meaning and change, but in my fine art practice I am not engaged with either in a conscious way. It is just not the way I think or work. I also have a design practice. In that area community is important. I work with performing arts organizations and a coalition of philosopher farmers in Central Vermont that have vision and purpose.

Does living in Vermont have any influence on how you go about your practice and making? if so or not, then how? or why not?

My Vermont home studio provides me with a quiet, undisturbed setting for making art without the distractions of an urban environment. I don’t make Vermont art. I just make art.

DP. strange ritual tower of hives_ blurb

Strange Ritual in the Tower of Hives, Cut paper collage on inkjet print, 20 x 16 “, 2011

 

What lead you to using Photoshop? I know you collage, draw and paint but why is it predominantly your medium now? Do you think this will change?

I was an early adopter of the mac platform in 1984 and Photoshop when it became available. I seldom draw or paint and digital imaging plays an increasingly minor role in my current art production. To a large degree I have gone retrograde and have returned to a medium that I used in the past, traditional cut and paste collage.

Do you think your work would have an entirely different ‘reading’ if it were completely painted or drawn? 

Since my images are appropriated, yes. The physicality and tactility of the original source materials inevitably enter into the reading.

Does the subject matter of your work come from your experience(s) lived, examined and reflected and then you weave it around a focus and/or are you conceptually driven first which you then seek your visual content after? Could you elaborate on how reflection, experience, collecting imagery and composing come together for you in your artistic practice?

In my current mode the collecting comes first (and is ongoing), the random associations come next and the reflection comes after a number of pieces from similar sources come together. The work is not predetermined. It would then become merely illustration. My work in drawing and painting feels overdetermined and interest me less.

DP. Portrait of the Artist as an Ass BLURB

Portrait of the Artist as an Ass, cut paper collage, 14 x 11″, 2012

 

Your work is akin to the field of remixing as opposed to creating an ‘original’ from no external sourcing or a personal narrative from scratch that doesn’t ‘collect’ and reconfigure into new contexts. I think your work weaves both but would you say your overriding critical concerns about where humankind is heading with ‘progress’ at the helm is more important right now? Can you explain your creative methods and strategies and those relationships to the content of your work?

The illusion of “progress” crops up over and over again in the work. I just can’t help myself.

What other artists, visionaries, thinkers and tinkerers are you dialoguing with?

I have a group of collage artists who I talk with fairly regularly. They all live pretty far away, so I meet with them less frequently that they meet with each other, but it is always stimulating. We call ourselves the Rio Blanco Riders and we consist of Varujan Boghosian, Peter Thomashow, Marcus Ratliff and me. On the periphery of this group is a young artist named Ben Peberdy who I met at Vermont Studio Center. He has a great mail art project going. We have been showing together for a couple of years now. Other collage artists that I admire and correspond with are Todd Bartel, Michael Oatman and Lou Beach. I cannot communicate with the dead, but if I could I would add Max Erst, Hannah Höch, Raoul Hausman and Ray Johnson to the list. I also greatly admire Wangechi Mutu, a collage artist who I see as the heir to Hannah Höch’s feminist approach to the game.

DP. some hats 5 x 6.5 cmyk

Some Hats, cut paper collage, with gouache and acrylic on birch panel, 20 x 16″

 

What impact has the Vermont artistic community had on you? Do you slide right into a sense of belonging with it or is it a challenge to see yourself growing here? or is it both or is ‘place’ not important for your work to thrive here, you could be anywhere flourishing?

For many years I felt like an outlier in the Vermont artistic community. The community is now more progressive and has many more farsighted contemporary practitioners. Thriving is a tricky question. While Vermont is a great place to make art, both the market for art and the institutional support of it are out of synch with the vibrant artistic community that now exists in the state.
It would be silly to blame sales and the viability of a career on the location since its a tough art market now all ‘round, but I think that the artists who reside in Vermont who are making a go of it are not doing it here in this state.

Many of the images above come from a book on Powell’s paper collages. The writing below reads like a manifesto to me and shares his thoughtful energy around image-making in the cultural machinery we live in today. 

To Be Determined afterword 

DP.wd powell signature033

 

 

All images are the property of W.David Powell. Please visit his website if you wish for more information.http://faculty.plattsburgh.edu/Wdavid.Powell/ 

Stay tuned for next interview with artist Lisa Kippen.

 

 

 

 

 

 

 


MONOCHROMATIC FREQUENCIES

blue monochromatic squares -painting by Joseph Albers

Blue squares by Joseph Albers 

 

I started to fall for the monochromatic vibe when I became disenchanted with colors, colors that are bright were offensive to me, contrasting colors juxtaposed with one another seemed cheap and gaudy, colors in a variety of patterns were too pretty. When it came to decorating the walls in my house I just admitted defeat and ignorance about color in interior spaces. Out of desperation I reviewed Joseph Albers color studies to retrieve a sense of ethereality in his Homage to the Square.  He made color both material and immaterial. While I knew I loved color, I was trapped by the security of a single color solving a variety of design decisions. Luckily my daughter inspired me with her rainbow drawings everyday. She started to wear fantastic color combinations like kelly green with fuchsia pinks, those preppy arrangements from the early 80’s in penny loafers. She painted patterns with rich darks and bright florals. There wasn’t a color that didn’t have life to her. Over time I grew fond of color again. Now I still don’t know how to wear any yellow nor do I know which yellows go well with purple, but gold rekindled my attraction to color as an elegant option. Gold is everywhere in art history but here it opens up a dialogue in the traditional works of Rubens such as this scene of the couple resting by the honeysuckle with the next image of Rimondi’s distinct Baroque couture against a gold catwalk.  The Baroque Flemish master Peter Paul Rubens is both the artist and male model here with his wife and model Isabella Brant, perhaps around the time of marriage. Their skin tones are remarkably sensual and true to life, the casual togetherness marked by the embrace of their overlapping hands and the extraordinary balance of her hat make this couple oddly knowable and current. Is it the colors?

RUBENS-ISABELLA BRANT

The Honeysuckle Bower and ISABELLA BRANT BY RUBENS, 1609.

           When I look at both images the ‘classic’ feels grounding and never obnoxious. Darks dominate in several value ranges unlike like our contemporary, flat, uniform, unvarying ‘black’ as staple for every season. And the gold continues its advantage of maintaining the status of ‘special’ in unwavering ways. But gold rarely leaves itself in art or fashion, it can get more champagne like or more rose or green and it can get deeper into earth tones. Essentially it keeps forever like a gold ring.

AQUILANO RIMONDI -BaroqueDress

AQUILANO RIMONDI -Baroque Dress

deep deep blue sea life

deep deep blue sea life

The sea creatures in the image above echo in the line pattern of Rimondi’s dress, the monochromatic values of being visible and then the translucency of not. Here the sea life feel like fabric suspended in medium pushed by the flows of change.

MARK TANSEY - DIPTYCH

MARK TANSEY – DIPTYC 1981

http://www.imamuseum.org/collections/artwork/diptych-tansey-mark

From inside the sea to the human activity outside it two other realities collide such as in Mark Tansey’s Diptych. His mastery comes in re-presenting topsy turvy interactions where the seemingly real meets the unlikely. The monochromatic color scheme has a way of blending and uniting these realities further away from their origins but strangely in the process they make sense.

LONG BLUES

bLue long-leather-gloves

http://thefashiontag.files.wordpress.com/2013/09/long-leather-gloves.jpg

And lastly I want to remark on how unusual this blue is in these fabulous gloves. It makes sense to have dresses in this color, but when you wear gloves this color and at this length with the same color dress another visual dimension opens up. More glove is more desirable. More glove in blue is simply without interruption more ‘whole’ in the outfit. The monochrome effect unites details, contrasts and the unconventional into a nuanced language of expression.

So the monochrome frequency rules for now, but lucky for my household we have a nine year old colorist leading the way.