My solo show, Natural Conclusions, is now up at Kaleid Gallery in downtown San José from now ’til March 30th. Beyond the official description, I thought I’d say a little about what these are and why I did this.
This show is the culmination of two years of collecting amateur landscapes in need of a little love. This idea came to me based on two ideas:
• remembering what it’s like to get “stuck” on a painting, knowing I wanted to improve it but not sure how (one in particular I did finish years later)
• thinking about “paint night” paintings and how they can only go so far in a couple of hours
I aimed to preserve the intent of the paintings as much as possible while “finishing” them. About half were signed so I’ve left those visible and noted them in the titles. The frames are unfinished pine that I also “finished” in the same areas as the paintings. I hope you enjoy them!
This March is my second solo show at Kaleid Gallery in downtown San José! It’s at the same venue as my first show, Prior Art, and the opening reception will be happening during San José’s First Friday art events. Come check it out!
Natural Conclusions – new paintings by Julie Meridian
March 3rd-30th, 2018 +reception Friday March 2nd 7-11pm
Kaleid Gallery, 88 S. 4th St. San Jose, CA
Open Tues-Sat 12-7pm (closed Sun & Mon)
How does someone else see or respond to the same place? What is unique in each person’s perception and expression? How can we value an experience as it is presented and also be thoughtful about progressing beyond it?
Natural Conclusions is a show of unexpected collaboration and second chances. Each painting was originally sourced from a local thrift store or flea market. Julie Meridian has chosen a portion of each to “complete” in her style, creating a study of contrasts in expressive power.
Here’s a throwback of a painting I’d felt was not quite done at the time and finished years later. I recently brought it out for a show so here’s a little backstory about it.
I started this one in college as an figure painting exploration with a particular focus on hands and feet. At the time it only had the frontmost two feet in it which ended up looking strange. It seemed like there was one giant thing? creature? looming above it.
At some point after moving I’d left it out on my drafting table. Something about leaving it off to the side to just see on occasion helped me realize one day that I just needed more in the background. I filled in a bunch of additional feet and it finally felt balanced. It was a little odd to work on something after so long, but why not? I was much happier with the result.
I ended up carrying through parts of this style to other work without really thinking about it. The mix of detailed backgrounds with drawn elements came up in the Chinese folktales re-paints of scroll calendars. It’s been easier to spot these things in hindsight than to explicitly plan for them.
Here’s a foray into abstraction that I made a little while ago and just recently put up for sale. Inspired by the flame effect of these frames, I created a couple of illustrations in ink and colored pencil based on a painting I did in college. The painting was about the death of Baldur, a Norse myth, and like many Norse myths Loki is in it causing some trouble. I represented Loki’s shapeshifting nature and destructive actions as a kind of cubism on fire.
It had been a while since I’d made the painting, and I found these illustrations had a notably different style even though I had the same approach in mind. I haven’t done much abstract work and I’m finding it to vary quite a bit when I do. While the painting felt rough and smokey, these feel streamlined and slightly Joan Miro-ish.
I also realized I go back and revisit the same themes periodically. These Lokis are based on an earlier painting, and the colored pencil box I have has a painting I made from the story of Ye Xian which I also painted on a scroll in the Chinese folktale series.
Last one in the Harvest series skews tropical with papayas. This ended up being both the biggest fruits (only four on here) with the smallest details (little black seeds).
I changed up my approach on this one and worked pretty evenly across the whole thing. This also has the most variety in colors of the set: dark green and black for the seeds, yellow and orange for the inside, and yellow, green, grass green, and a clay color to desaturate the skin.
3rd of 4 in the Harvest series – avocados, cut open to show off the green insides and shiny pits. Same approach as the others: start at the bottom and slowly develop a pattern along the way.
These are made with Prismacolor colored pencils, and on this one I used seven colors total: green and yellow for the insides (blended with ivory), grape purple and grass green for the pebbly skins, and brown, dark brown, and yellow (blended with ivory) for the pits. It took a try or two to figure out the right appearance for the pitted halves.
Another fruit in the Harvest series – this time, a little pile of blueberries. This one’s more of an experiment in subtle patterns within a dense texture. I varied the amounts of blues and purples, and tucked in the stem area here and there to aim for something random-looking but balanced. I also made the front/bottom area a higher contrast and slightly bigger so it would give a proper sense of perspective.
Like the persimmons, I started on the bottom and gradually worked my way up. It got a little tricky to avoid a pattern that was too regular. Some areas started to get that fishscale-like regularity, and I found the best way to avoid that was to jump to different parts of the image while laying out the initial blueberry outlines. I think the hand (and eye) tend towards patterns that are both (1) regular in frequency and (2) trailing off in whatever direction you write. It’s the same issue with writing sentences on whiteboards, though (annoyingly) it can happen even on a tiny scale like this. Sometimes the best thing to do is to keep interrupting and switch to something different frequently to insert the randomness yourself.
A few months ago I had a little extra time in the evening and ended up at Corridor with a glass of wine and my laptop. While I was there, I was struck by the lighting and the rhythm of the layout. Two other people were there, quietly enjoying a dinner, so I surreptitiously snagged a photo that I decided to make into a painting.As with all paintings with photo references, I start with a sketch. It’s nearly impossible to correct weird angles or proportions after the fact so I always do this when it’s from a photo. The lighting in this is a bit darker than I’ve done before – a good test of me slowly attempting to improve the balance of dark tones in my paintings. Part of the challenge is that I get them looking right in person and then the photo is just…off. When I take a photo or scan them I always need to adjust them to match what I see. The dark tones are built up from a mix of burnt umber and ultramarine blue.
I listened to the High Resolution Design podcast while painting this one. I think it helped keep me in an industrial design headspace while I was painting all of these lights.
Here’s a bright little drawing of persimmons from memory. I drew this with Prismacolor pencils to experiment with blending techniques to replicate the muted sheen on the fruit. To get this look, I lightly filled in layer of orange and red and/or brown around the edges, and then pressed hard to blend a peach color for the sheen and orange for the rest. The leaves are a mix of two shades of green, ivory, and a pinkish brown.
I started with the fruits at the bottom and completed each one before moving to the next because I wasn’t sure whether I wanted to add something else in here (a pixie in hiding? a knit fruit? a glass ball? make one float up?). I briefly contemplated an Escher-like transformation of the leaves into birds. I ultimately opted to fill it in as you see because I liked the visual rhythm.
I’d started this illustration a while back during a Two Buck Tuesday event at Kaleid Gallery, and felt compelled to finish it now that we’re well into fall. I’ll be taking it full circle and bringing it back to Kaleid for the annual HARK! Holiday Show and Sale in about a month.
Vinyl records are a surprisingly good base for a painting! I recently came across a call for entries for a show titled “Extended Play: A New Spin on Vinyl Classics” that invited artists to use albums as the basis for new paintings. This is a collaboration between Art Attack SF, a neat gallery in the Castro, and a little bar called Church Key in North Beach.
Music lyrics seemed like a good inspiration, and I went with the first thing that came to mind since it had a few distinct images in it: Cat’s In the Cradle by Harry Chapin (or Ugly Kid Joe, depending on your era). The first part of the refrain combines lines from nursery rhymes: “The cat’s in the cradle and the silver spoon, little boy blue and the man in the moon” I had three albums to work with so I decided that little boy blue was the least interesting of the three and focused on the others.
“Cat’s in the Cradle” was pretty straightforward; a cat, holding a cat’s cradle string game. I opted for human-style hands to make it easier to show the gesture for holding the cat’s cradle.
“The Silver Spoon” was less clear. I thought about combining it with Little Boy Blue but I decided I’d paint these out of my imagination (i.e. no reference materials) and wasn’t confident about how a boy would turn out. I already had the cat and the moon, so the next thing that came to mind was an owl because of the Edward Lear poem “The Owl and the Pussycat”. The owl could hold the spoon.
“The Man in the Moon” I felt needed a cravat. He seemed like he’d be out having a cocktail.
I wasn’t sure that the acrylic paint would hold onto the vinyl. I’d just had a painting fail where I’d painted a few layers on a found canvas that ended up not sticking on it. To my annoyance I’d discovered that the gloss seal and the paint were just barely holding on, and they peeled off in one plasticky piece. I did a small test paint patch that I attempted to peel/scrape off the album and it held quite well, so I was relieved I didn’t have the mess around with sanding and sealant experimentation to get it to hold. The one tricky thing about working on the album was that it was difficult to make the underlying sketch. I used a white pencil to sketch the basic forms, and it really only showed when the lines were nearly perpendicular to the album track. When they started to align the pencil would slip into the groove and fail to leave a mark.
I tried something different on the colors for these: instead of starting with warm tones as the base, I built it out of cool tones. It has a different look to it, so now I have a better sense of how I might use that approach in the future.
I decided relatively late what to do with the labels. I had started painting the cat before I had a clear idea of what to do with them, and partway through decided to make the label a collar-style necklace since it had a nice rainbow gradient. On the owl, the label had some playful hand-drawn lettering for the band name so I decided to leave just that showing, and the curve made it look a little like a worm that could be in the owl’s beak. On the moon, I decided the man in the moon would have a round head but be occluded by the label. The label also had Columbia’s logo of the dog and phonograph so that made for an interesting thing for the moon to look at. As I was filling these in I also realized the center holes weren’t filled in, so on the cat and owl I styled these to look like pendants.
They were looking a little incomplete floating on the albums, but I didn’t want to eliminate the album background completely because it shines in a neat way. Since these all had a nighttime feel I added fields of stars to the backgrounds of all three.