Tag: hard-edge painting

New Minimal Paintings: The ‘Voyedge’ Series

September 8th, 2015 | 1 Comment »

New Minimal Paintings: The 'Voyedge' Series
Three studies for my Voyedge series of minimal paintings.

My most recent artistic voyage has been my Voyedge collection of new minimal paintings. This series is very hard-edge in spirit, and is in many ways a descendant of my ‘Confluent series of paintings, from January of this year.

Thus far the Voyedge series encompasses five small studies and two larger minimal paintings. Down the road, I’d like to continue to explore different colorways with this series — particularly combinations involving fluorescent colors.

New Minimal Paintings: The 'Voyedge' Series by Grant Wiggins
Voyedge 1. 2015. Acrylic on canvas. 40 inches square (102 x 102 cm).

With the Voyedge series, my commitment to hard-edge, minimal painting remains clear. This is a way of making art that has felt like second-nature to me for many years.

New Minimal Paintings: The 'Voyedge' Series by Grant Wiggins
Voyedge 2. 2015. Acrylic on canvas. 40 inches square (102 x 102 cm).

If one tendency, or evolutionary theme, emerging in this side of my work, I would say that it is becoming more angular — increasingly characterized by right angles.

There is something about the square, and the straight line in general, that is completely modern to me. The square is the progenitor of the pixel, the essential building block of digital culture. Expressing the same design in straight lines, as opposed to curves, somehow yields a more contemporary expression.

New Minimal Paintings: The 'Voyedge' Series by Grant Wiggins
Voyedge 3 (‘Darkhorse’). 2015. Acrylic on canvas. 40 inches square (102 x 102 cm).

I realize that minimal painting is not for everyone. These sparing compositions, as a rule, have clean lines. They are nonobjective in nature; there are no mountains, or flowers, or portraits to relate to. As such, these paintings resist narrative.

Perhaps this is what I find so enjoyable about minimal painting: The making of something new, materializing an otherness not found in the everyday world that surrounds us.

New Minimal Paintings: The 'Voyedge' Series by Grant Wiggins
Voyedge studies, from left: Voyedge 2 (Study); acrylic on canvas; 10 inches square (25.4 x 25.4 cm). Voyedge 3 (‘Darkhorse’ Study); acrylic on panel-mounted canvas; 10 inches square (25.4 x 25.4 cm).

The Voyedge collection continues to evolve. I look forward to sharing more pieces with you soon.

‘Arizona Biennial 2015’ Opens at Tucson Museum of Art

July 26th, 2015 | No Comments

arizona biennial 2015 opens at tucson museum of art
Now on view in Arizona Biennial 2015: Confluent, The Lake a Lilac Cube, and A New Way of Thinking About Everything by Grant Wiggins.

Arizona Biennial 2015 was unveiled at Tucson Museum of Art on Friday night, and I was absolutely delighted to experience the show in person at the opening night celebration.

You’ll be able to find the three paintings I’m showing at the very end of the exhibition — where the abstract works are located — on what I believe is the museum’s tallest wall. I fondly call this the “Great Wall.” It has an epic, almost monolithic quality, and for me holds a special meaning.

In 2007, I showed my painting ff0000turo in this exact same location. Having the opportunity to exhibit here eight years later, on the full breadth of the wall, I could not ask for more. I feel both a circularity and a sense of advancement — an awareness of how much my work, my thinking, and my life has changed.

arizona biennial 2015 opens at tucson museum of art
A return to Tucson Museum of Art’s “Great Wall”: From left, ff0000uturo in Arizona Biennial 2007 and the same wall today.

The curator of Arizona Biennial 2015 is Irene Hofmann, Phillips Director and Chief Curator of SITE Santa Fe. For this exhibition, 530 Arizona artists submitted nearly 1,500 works. Ms. Hofmann selected 50 works by 33 artists.

In her statement discussing her curation of the exhibition, Ms. Hofmann observes that while she “didn’t initially set out to develop a thematically structured show,” several “strains of exploration” emerged in her review of works submitted. The show is arranged according to those themes.

Works that reflect upon nature, and humankind’s impact upon it, open Arizona Biennial 2015. The theme of reclamation is later explored by works that give new life to discarded materials, as well as overlooked, everyday objects. Violence and control are then addressed in a variety of media.

At the conclusion of the exhibition — where my work hangs along with sublime paintings by Mike Stack and Angie Zielinski — “the Seduction of painting offers the last word,” Ms. Hofmann affirms. By exploring color, design, and imaginary worlds, she writes, these abstract pieces “insist on the enduring power of painting and offer us the reprieve of visual delight.”

arizona biennial 2015 opens at tucson museum of art
The sedution of painting: Abstract works by Grant Wiggins, Angie Zielinski (right), and Mike Stack conclude the show.

I am deeply honored to be showing in Arizona Biennial 2015. It is energizing and inspiring to be exhibiting among so many gifted, accomplished artists, who were united by masterful curatorial judgment. I offer my gratitude to Ms. Hofmann and the entirety of the Tucson Museum of Art’s staff, who have staged an exhibition that proudly represents the artistic currents flowing through our state.

New hard-edge paintings: The ‘Confluent’ series

February 21st, 2015 | No Comments

I’m pleased to introduce this new pair of studies, part of a series I’ve assigned the working title Confluent.

Each is painted on a cradled panel measuring 10 inches square by 1.5 inches deep (25 x 25 x 4 cm).

hard-edge painting
hard-edge painting
hard-edge painting
hard-edge painting
New hard-edge paintings: Confluent #1 in white, and Confluent #2 in navy-black.

I’ve had hard-edge painting on my mind quite a bit lately, as I’ve begun to re-examine minimal painting. I’ve been thinking about how Frederick Hammersley had two different styles of painting: his hard-edge pieces and his organic “hunches.” As I have veered between minimalism and maximalism in my own work, I can appreciate how Hammersley explored these two very different, very personal approaches to painting throughout his life — one very rational and formal, another very subjective and intuitive. When one approach went stale, he returned to the other.

Right now, I’m pursuing a more rational and formal approach in my work. While I’m starting from familiar ground, it seems like I’m going somewhere new. I will certainly share my newest discoveries with you soon.

Grant Wiggins

‘Think Small 7’ Miniature Art Show in Richmond, Virginia

October 15th, 2013 | No Comments

grant wiggins in the think small 7 art show in richmond virginia

I’m proud to be among the 250 artists showing in the Think Small 7 miniature art biennial, which opens Friday, October 25 in Richmond, Virginia. I will be showing Vybralta 1 (shown above), a three-inch-square acrylic painting on panel-mounted canvas. I have priced it at $75, in case you’re interested in acquiring it. (Fifty percent of the proceeds goes to artspace, which is a very good cause.)

Works on display in Think Small 7 represent an impressive variety of media and themes. No piece can be larger than 3 inches (7.62 cm) in any dimension. An evolving list of participating artists, including yours truly, can be found at artspacegallery.org/thinksmall.

New profile on geometric art website geoform.net

August 7th, 2010 | No Comments

I am very pleased to say that I now have an artist profile on geoform.net, “an online scholarly art project dedicated to exploring and documenting the use of geometric form and structure in contemporary abstract art.”

geometric art website geoform.net
Geoform.net showcases leading artists in the contemporary geometric art.

I thank geoform.net’s editor, Julie Karabenick, for inviting me to have a presence on her site. It is truly an honor.

Since its launch in May 2005, geoform.net has grown to encompass more than 1000 artists from around the world. The carefully curated site brings together, according to Ms. Karabenick, “artists who have demonstrated a serious and long-standing commitment to abstract art that features geometric forms and/or structures.”

For the moment, my profile is featured on the site’s homepage, side-by-side with legendary hard-edge painter June Harwood. (Ms. Harwood was an integral member of the California Hard-Edge painting movement in the early 1960s.)

This is second time this year in which my work has shown next to Ms. Harwood’s — something I find fascinating. In April, my painting Spaceloop Two showed alongside one of her “loop” paintings at Thomas Hayes Gallery, in Hollywood, as a part of the gallery’s grand opening.

Dwell.com slideshow showcases Thomas Hayes Gallery opening

April 18th, 2010 | No Comments

Thomas Hayes Gallery in Dwell Slideshow
Above: My 2006 painting Eodroon featured on Dwell.com. Photo courtesy of Elko Weaver.

Images of my paintings on display at Thomas Hayes Gallery are now featured on Dwell.com, in a fantastic slideshow. See the accompanying article here.

I am so happy right now, on a personal level and for the Thomas Hayes Gallery. The years of hard work are paying off.

Hard edge art works now on display at Thomas Hayes Gallery

April 16th, 2010 | No Comments

I’m very happy to share with you this set of images on flickr, which offer a glimpse of my current showing of hard edge art at Thomas Hayes Gallery in Hollywood, California.

thomas hayes gallery
From left: Süfnex (2004) and Stryyka (2006), hung with a 1960s-era jacaranda coffee table, as well as stainless steel Inox chairs by Zanini de Zanine.

I’m very happy to be showing at Thomas Hayes Gallery. I’m very impressed with how my work is displayed; my paintings really pop against the deep-space charcoal walls. My minimal painting Orääänj is one of the first things you encounter as you enter the gallery from the street. Likewise, I am thrilled to be showing among works by John Barbour and June Harwood — legends of hard edge art.

I invite you to check out my set of 14 photos from this show on flickr now.

Now showing at Thomas Hayes Gallery

April 6th, 2010 | No Comments

I am proud to announce that I have begun showing my paintings with Thomas Hayes Gallery, 6162 Santa Monica Boulevard, in Hollywood, California. This Friday is the gallery’s grand opening. It is a wonderful honor to be a part of the gallery’s launch.

More specifics about the gallery and grand opening are here on Dwell.com.

Likewise, Thomas Hayes Gallery has begun to offer my work through the venerable modern lifestyle site 1stdibs.com. You’ll find a few of my works at thomashayesgallery.1stdibs.com.

Thomas Hayes Gallery on 1stdibs.com
Click to see my paintings on Thomas Hayes Gallery’s 1stdibs.com storefront.

Thomas Hayes, who co-founded the legendary NOHO Modern furniture gallery, invited me to show at his new gallery as I was preparing for my current Scottsdale contemporary art show, Circles with Corners, which is on view through May 15 at Soyal Gallery.

Over the ensuing few weeks, Hayes and I have had many productive discussions. Clearly, he’s very passionate about what he does, and I believe he’s absolutely the right person to bring my work to the West Coast audience.

Hayes is a connoisseur of hard-edge painting. At NOHO Modern in 2003, he staged an important show for hard-edge painter June Harwood. He also currently represents work by John Barbour. Harwood and Barbour both showed in the storied California Hard-Edge Painting exhibition, organized by Jules Langsner, in 1964. To be certain, I am humbled to be hanging my work in the same space as Barbour.

While Hayes is fond of my minimal, hard-edge paintings, he also appreciates my maximal works. Therefore, in the Dwell.com write-up, my work is described as “hard-edge minimalist/maximalist paintings.” It’s very cool to know that my two approaches to painting are able to coexist at Thomas Hayes Gallery.

Having a chance to show in Los Angeles, at a gallery of this stature, is a dream fulfilled. It’s that simple. I’m looking forward to seeing how things progress.

New images of my Scottsdale contemporary art show now on flickr

April 4th, 2010 | No Comments

Scottsdale Contemporary Art

Images of Circles with Corners, my current Scottsdale contemporary art show on Marshall Way in Scottsdale, are now available in this flickr set. I thank my friend Robert Bell for helping me take some ultra-high-res images.

Presented by Soyal Gallery, my Scottsdale contemporary art show brings together 35 paintings that I have made over the past four years. My fall 2009 collection of contemporary abstract paintings forms the nucleus of this show.

I’m very pleased about the coverage that this show has had in the media so far. Locally owned Java Magazine gave my exhibition a full-page article, written by Scott Andrews. Likewise, Phoenix New Times blogged about Soyal and other upstart Marshall Way galleries that are changing the Scottsdale contemporary art landscape.

Our opening-night turnout was fantastic, as well, and I thank everyone who stopped by to say hello.

I have more exciting news to share with you very soon. Meantime, hope you enjoy my new set of images on flickr.

Scottsdale Contemporary Art

A found Frederick Hammersley painting

January 26th, 2010 | No Comments

frederick hammersley painting

A once-anonymous abstract painting owned by Laurie Pike was recently determined to be the work of legendary hard-edge painter Frederick Hammersley.

The “found” Hammersley painting is titled One Pair and is dated 1960.

Frederick Hammersley is one of my favorite painters, and I’ve written about him considerably.

With Ms. Pike’s consent, I would like to share the story of the found painting with you.

Ms. Pike writes:

“My best friend owned the painting — I am pretty sure he bought it in a thrift shop (!!). He never had any money, but had impeccable taste. My friend passed away 2 years ago and I inherited the painting. At a party at my house [in December], an art professor asked to look behind the painting and said, ‘This is an important piece of art!'”

Ms. Pike has consulted with LA Louver Gallery about restoring — and potentially selling — the Hammersley painting.