We recently had the honor of guest curating an exhibition at The Good Luck Gallery, an important, new space in Los Angeles. Founded and directed by former Artillery publisher Paige Wery, The Good Luck Gallery is the only space in LA dedicated to showing the work of self-taught artists. Wery fosters the burgeoning careers of artists such as Helen Rae and Deveron Richard, who maintain studio practices in progressive art studios, as well as artists like Willard Hill, who fall into the Outsider, Visionary, or Vernacular categories. Mapping Fictions, curated by Andreana Donahue and Tim Ortiz, opened on July 9th and will be on view through August 27th.
Read MoreMapping Fictions: Roger Swike
Untitled, ballpoint pen on paper, 12 x 9 inches
Untitled, ballpoint pen and crayon on paper, 12 x 9 inches
Untitled, ballpoint pen and crayon on paper, circa 2013 12 x 9 inches
Roger Swike's ten crayons
Roger Swike is an exceptionally prolific artist who works rapidly on many pieces simultaneously; much like Melvin Way, his drawing process channels an immediate and intuitive stream of information, yet is also executed with deliberation and great intention. Swike will often revisit drawings created at different times and deliberately organize them into various color-coded folders; the resulting works are an assertive, endearing proposition about what an art object can be. Within content that initially appears chaotic or arbitrary, familiar text referring to pop culture and the exterior world is pervasive. Black and blue ballpoint pens and ten crayons are utilized as though each tool has a symbolic role. Some ideas are organized neatly into grids, others are written in less regimented clusters or lists, primarily in multiple layers of ballpoint pen. Over time, curious relationships and subtle patterns emerge, such as references to the number 7 or numbers listed on their own counting down from ten (but when listed alongside the alphabet they ascend from 0 to 9).
Because Swike’s work is disciplined and systematic, the viewer is tempted to decipher the rigid system that defines it, but the true nature of the work seems to reside in the plasticity of its rules. A grid listing Loony Toons characters deviates from the pattern to include "YOSEMITE NATIONAL PARK SAM DONALDSON", numbers are written in black ballpoint pen without an overlapping of blue pen, words or phrases are redacted, yet the sequence and grid are still drawn using the ten selected colors…often it feels as though Swike isn't creating the system, but instead exploring it as a poet does language, both fluent and curious. Each time Swike's lexicon is revisited, it presents an opportunity to rethink its mysterious nature - possibly an archive, message, map, poem, or something else entirely.
Roger Swike’s work will be included in Mapping Fictions, a group exhibition curated by Disparate Minds writers Tim Ortiz and Andreana Donahue at the Good Luck Gallery in LA, July 9 - August 27. Swike (born in Boston, 1962) has shown previously at the Berenberg Gallery in Boston, Fuller Craft Museum, the Outsider Art Fair, Margaret Bodell Gallery, and Phoenix Gallery in New York. He has also been awarded a MENCAP award in London, England.
We first encountered Roger Swike’s work many years ago, as studio co-managers and facilitators in a progressive art studio in Nevada; we began visiting other studios while traveling (before the inception of Disparate Minds). Swike has maintained a studio practice at Gateway in Brookline, Massachusetts (the oldest progressive art studio in the US) since 1995. Despite this, his extensive body of work remains relatively unknown outside of the Boston area, possibly because the art world hasn’t quite been ready for work as contemporary and singular coming from a living, so-called outsider artist.
Thomas Sedgwick
Thomas Segwick, in pen on paper, composes images that feel constructed as opposed to drawn, achieving a robust depiction of mass and form with simple outlines. Sedgwick is represented by DAC Gallery, the exhibition space for the progressive art studios operated by the Los Angeles Exceptional Children's Foundation. From DAC:
"Thomas Sedgwick's line drawings are rendered as abstract grids reminiscent of maps, essentially acting as blueprints for his eccentric imagination. At the heart of his images, he depicts the desire to build, plan and create a fantastic world..." (more)
Helen Rae
Untitled, colored pencil/graphite, 26" x 20”
Recent Drawings, at The Good Luck Gallery in LA, is a beautiful collection of colored pencil and graphite works on paper by Helen Rae. These drawings live in a space between the realms of representation and abstraction, most often realized as figures surrounded by ambiguous, pattern-driven environments resembling textiles or foliage.
Untitled, colored pencil/graphite, 26" x 20”
Rae’s incredible abstractions aren’t merely expressive, stylized reimaginings of found photos and magazines; each drawing seems to engage and elevate its source image with drive and ambition. Rae seems to search through the image, read it like a rich text, and celebrate every passage - the shadow of a frame against the wall, heel of a shoe, zipper on the side of a bag, are all described with incredible detail and conviction. Inevitably, the figures and faces remain expressive and bold, even as they’re nearly lost in a cacophonous ecstasy of patterns.
Lucien Freud said that “...truth has an element of revelation about it. If something is true, it does more than strike one as merely being so...” In exactly this sense, Rae’s works are undeniable revelations. The impact of the clean, uniform installation is vibrant and specific, further emphasizing the singularity of each drawing.
Much like LA-based artist Eric Yahnker, Rae explores the limits of the often overlooked and rarely mastered medium of colored pencil. These achievements are the direct result of engaging in an uncommonly committed creative practice. Rae has been a studio member of First Street Gallery Art Center since it’s founding in 1990 - First Street’s Seth Pringle asserts, “Helen's focus and dedication in the studio are unmatched. She rarely misses a day and when she's in the studio she's always working diligently. The style and execution of her drawings have slowly but steadily evolved over the course of her 25 year career, growing in compositional complexity to its current state of mind-boggling beauty and intensity.”
The Good Luck Gallery is currently the only commercial exhibition space in Los Angeles devoted to self-taught artist programming. Owner Paige Wery was previously the publisher of Artillery, a contemporary art publication based in LA, for six years before opening the exhibition space in 2014. Wery became familiar with Rae’s work during an initial First Street Gallery studio visit; several people had suggested that she visit their location in Claremont, California due to the quality of art being produced under their long-standing, excellent program. Rae’s show has been wildly successful, selling out early and generating a waiting list for new work.
Untitled, colored pencil/graphite, 26" x 20”
Over the past several years, interest in the work of self-taught artists (historically referred to as Outsider or Visionary artists) has gained momentum as the contemporary art world becomes increasingly pluralistic. Wery remarks, “It’s very exciting to see the attention that Outsider Art has received over the last few years. I give huge credit to Massimiliano Gioni, who included outsider work with contemporary work at the 2013 Venice Biennale. I think that made a huge difference. The fact that contemporary fairs are including my program and other outsider galleries is a sign that things are moving in the right direction. Museums are showing and accepting Outsider Art into their collections far more often. I’m proud to have joined the champions furthering the exposure and dialogue of self-taught art. The conversations with collectors, artists, dealers, and casual visitors about self-taught art has been extremely encouraging. It seems the art being shown and the dialogues taking place at The Good Luck Gallery are already making a difference.”
Rae’s work has been featured previously in various exhibitions in New York, Boston, Washington D.C., Scotland, Belgium, Japan, and extensively in California. Rae has been based in the Claremont area since 1938.
Helen Rae: Recent Drawings
April 18 - May 16, 2015
The Good Luck Gallery
945 Chung King Road (Chinatown)
Los Angeles, CA 90012
Wednesday – Sunday
Noon – 5PM and by appointment