SELECTED WORKS BY Ivan Morley
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Ivan Morley
A True Tale
2006
Thread on canvas
271.8 x 99.1 cm |
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Ivan Morley describes his paintings as “poetic myth objects”. Drawing from the Wild West ancestry of his hometown in California, Morley’s works – which range from folk-style illustration to full-fledged abstraction – combine fact and more than a little historical embellishment in their narrative motifs. Using such unorthodox materials as thread, glass, fabric, batik, soap, and KY Jelly, Morley uses the associative and ‘make do’ qualities of his media to give authenticity to his work as handcrafted ‘artefacts’. Morley’s A True Tale is a monumental embroidered wall-hanging. Depicting an ‘impressionistic’ view of a romantic frontier landscape through home-craft, Morley draws upon the connotations of the American sublime, his painting becoming an inspiring testimony to heartfelt endeavour and heartland chintz. |
Ivan Morley
Tehachepi
2006
Oil and cotton over aluminum panel
238.8 x 116.8 cm |
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Ivan Morley’s Tehachepi takes its title from the name of a small town near Fresno California, in which a ranch was recently purchased to be the site of a Norbertine convent; a true contemporary story, which in Morley’s hands harks back to the days of untamed savage territories yet to be conquest. Rendered over the lustrous sheen of aluminium sheeting, Morley’s abstract pattern is made from cloth and oil paint. Rendered with comic detail, each round form is given anthropomorphic effect. Idiosyncratic and naïve, his TexMex coloured swatches flock in huddled congregation, each an intrinsic, yet individual value of the whole. |
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ARTIST INFORMATION
ARTICLES
Ivan Morley: Patrick Painter
By Meghan Dailey
Ivan Morley's paintings are inspired by the frontiersman's lore of scrappy, dried-out California towns with names like San Gabriel, El Monte, and Tehachapi. Such locales and their all-but-forgotten (and possibly artist-fabricated) histories--if you can call tales of memorable cockfights and observations on the behavior of squirrels histories-seem unlikely sources of inspiration.
Yet, from a mass of myth, a dose of his own vivid imagination, and a range of raw material, Morley has created some mighty idiosyncratic pictures. The show as a whole was pulled together with a keen sense of detail, with texts telling a few of the stories rendered carefully on the walls.
To create his paintings, Morley applies dyed fabric, wax, varnish, dense patches of colored thread, and, occasionally, oil paint to a range of supports that includes denim, glass, linen, and canvas. Sometimes he paints on glass, peels the image off, and affixes it to another support.
The textures and varying opacities of these surfaces contribute to the work's material diversity; we get blocky quiltlike patterns, floral motifs, and faux-naif, cartoonish illustrations on tie-dyed grounds. Slipped into the mix are some Indonesian-style batiks, which Morley says he learned about from LA stoner culture.
Read the entire article here
Source: findarticles.com
Ivan Morley
Ivan Morley's complex, color-saturated paintings are visual extrapolations made within an associative game that starts with history. Born in Burbank, California in the mid-60s - seemingly a time and place of little history - Morley begins his work by excavating shards of little-known historical anecdotes and fact from LA's frontier past in the mid 19th century.
By painting exploratively on a variety of surfaces, including textured glass, wood panels, batik and dyed canvas, Morley expands the scope of his investigation beyond the literalness of recorded fact into a swirling mass of causal influence that is as hallucinatorily complex as actual lived experience, aka history.
In Lab, 2001, exhibited at Frehrking Wiesenhofer in Cologne this Fall, Morley's group of seven paintings begin with an explosion that took place in Bill's Asphaltum-Camphene lab.
Bill was luckily off the premises when the accident occurred, having stepped out to the drugstore for a cocktail.... The paintings in Lab, 2001 function like animation cells, depicting seven phases of a single moment. They stand alone, but can also be experienced as a lightning-quick montage of jumpcuts. Through this approach, Morley avoids the dichotomy between abstract and figurative painting. The series contains both. In Lab, (oil, soap, and KY jelly on panel), a clapboard shack on a bed of yellow red and orange flames floats on a cyclorama backdrop. The explosion hits in many-pointed stars, and pixilated colored glass breathes against the shack's windows.
Read the entire article here
Source: artnews.info
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Other artists in GERMANIA:NEW ART FROM GERMANY
Gert & Uwe Tobias | Markus Amm | Dirk Bell | Felix Gmelin | Stefan Kürten | Jutta Koether | Ulrich Lamsfuss | Andrea Lehmann | Jonathan Meese | Kirstine Roepstorff | Julian Rosefeldt | Christoph Ruckhäberle | Corinne Wasmuht | Thomas Zipp
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