Ascension Day Reviewed by Ted Keer

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Newberry, "Ascension Day", oil on linen, 86 x 70 inches, private collection.

Newberry, “Ascension Day”, oil on linen, 86 x 70 inches, private collection.

Note: Ted Keer pass away last month, he had a wonderful curious mind, and it was an honor that he wrote something about a few of my works including the review below:

Michael Newberry’s “Ascension Day” is one of my favorite of his non-traditional paintings. I believe that the essence of my enjoyment is the fully worked out form which simultaneously presents both symmetry and asymmetry, beauty and tension, action and self-centeredness.

When I visited his studio, Michael and I discussed his axiomatic concepts of figurative painting which he designates as form, space and light. I don’t wish to comment at length on his theory, but those who wish to know what he has to say should visit his website and read his statements. I did not discuss this specific painting with Michael, and have intentionally not sought his remarks on it, so that I might comment without bias.

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Synergy

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Newberry Synergy oil paintingSynergy
oil on linen, 82 x 66 inches, studio inventory.

Laying down in a closed, dark, tiled space, too young to understand, too inexperienced to sort through feelings, and in too much pain to be aware of the world around him, the ten year old had no choice but to examine everything–or face oblivion. Deep inside him surfaced a feeling of goodness. That feeling would ultimately anchor him to life and earth.

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Chaos, The Bringer of Equilibrium

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Counterpose: Chaos, the Bringer of EquilibriumCounterpose: Chaos, the Bringer of Equilibrium, oil on linen, 36 x 42 inches, studio inventory

 

Chaos was depressed. No matter how hard she tried she couldn’t manage to cope with all of the contradictory forces within her: darkness, burning lights, forms, demons, angels, and bright colors. No single element was the answer to the meaning of existence. It was as if a hundred opinionated voices were speaking all at once, forcefully demanding their spot at the top of the heap. There was nothing tangible to fight, and there was no place to flee. She said: “What an unbearable life.”

 

There was one tiny, microscopic Sublime atom in the chaotic flux that wasn’t fighting, yelling, or competing. It softly mused: “This is all so silly because there is beauty in everything and everything has its nature. I know there is sense to all of this, we only need to discover the key.”

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Puccini

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Puccini
oil on linen, 60 x 70 inches, private collection.

 

As a pre-teen, I often felt an unbearable delight in things: There was a local sub shop run by a Sicilian man named Tony. Tony used imported Italian ingredients to make his submarine sandwiches, and the combination of rich flavors created an explosion in my mouth and spirit. It was the same with da Vinci drawings. Da Vinci drawings swept me through currents of light and air giving me a delicious feeling for his beautiful people. I felt like I was born Italian in a past life, but was cursed to be brought up in the artificially bright culture of mid-20th century America, with its Doris Day look-alikes, CIA-sponsored Rothko paintings, Wishbone dressing, and psychologically immature, posturing, drunken men. Though my normal character loves wondrous things, I also felt sadness and shyness. Shyness about the things that rocked my world, and sadness for seeing so much superficiality in my town.

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An American Journey

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My show Intimacy at the White Cloud Gallery, Washington, D.C. Nov 3 – Dec 14, 2017

Art Universe

Last year I was painting life-sized nudes, mostly monochromatic, in my Idyllwild cabin with my dog Frida for company. It was like living in a dream, get up in the morning, enjoy my coffee, and then enter into the universe of art. As I painted, I would play music in the background, listening to complete sets of Beethoven’s Symphonies and Handel’s Oratorios, or binge on the complete series of Star Trek Next Generation and Voyager. I was exploring new and challenging ways to express love, myth, and beauty on the canvas. One challenge was how to paint an explicit lovers’ embrace in order to capture their primary feeling of love. Another challenge was creating the deepest space I have ever done. In creating this body of work, I felt my prayers to contribute to a better world being realized.

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Grateful

Grateful

Grateful, oil on canvas, 24 x 20 inches.

In the last year I have been feeling grateful for friends, the beauty of Idyllwild, the ability to create so freely, and being in the right place to enjoy them all so much.
How does an atheist find images to express that? These overlapping hands had an abstract quality, something of a butterfly, and, for me, absolutely a feeling of thankfulness. A great pleasure to paint. Nod to Manet’s little fingers.
This painting and several recent works from Idyllwild will be in my show at the White Cloud Gallery in Washington, D.C. November 3rd – December 14th.

 

Michael Newberry is Artist-in-Residence at The Atlas Society. He has exhibited in New York, Los Angeles, Washington, D.C., Athens, and Rome. Follow him on Instagram at @artnewberry.

Idyllwild Paintings 2013 – 2017

Idyllwild Paintings 2013 - 2017

PREVIEW

Just published, available in Coffee Table Book and Kindle formats.

From the inside jacket cover:

Idyllwild Paintings is a journey from the indifferent art scene of Downtown L.A. to the granite mountains of Idyllwild. In danger of losing the meaning of being an artist, Michael Newberry sought a place to explore depth, death, love, and light. Inside are over 45 paintings of narrative, abstract realism, and larger than life-sized portraits.

Through new mentors he was introduced to evolutionary theories, sandwich techniques, and to his dog Frida. An abundance of studio time enabled him to explore painting techniques, color theory, and pushing the boundaries of two-dimensional space. He also explored the fragile inner workings of love themes and symbolism.

Throughout his experience the nurturing environment of Idyllwild’s people served to make what could have been a lonely life, one filled with love and visibility.

Note: Idyllwild Paintings was a labor of love, it is my pleasure to offer no mark up on the coffee table book.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Winter

 

Idyllwild is a mythic place, if I were religious, I would say it one of God’s gardens. Indeed, if you were to wander the remote paths, you might actually come across a forest nymph interacting with nature. This year I made friends with Katie Bolin and her mate Ivan Ellirand, starting with a life-size painting of her pregnant and nude. This painting, Winter, is the follow-up and Ivan kindly granted me use one of his photos as a reference.

While painting it, I imagined it being one in a series of the four seasons. What do you think? Can you see it?

Throughout the day I see rabbits and squirrels scurrying and birds bounding and flying about. For fun, I embedded two birds and one rabbit in this painting, they are pretty well camouflaged — I doubt you find all three. Let me know if you do!

Tats Series

Earlier today I signed off on the third tattoo painting. The series was a fascinating excursion in which I contemplated how we sometimes become the artwork. I have always thought that was true in a metaphorical way, in the sense that when we are young, we often form our characters, unwittingly, by the influence of movies, literature, songs, paintings, or by sculptures. With tattoos it is the reverse, it is the person that becomes the canvas. They literally become the artwork.

The process of painting them was difficult and fun. It is like working a jigsaw puzzle in 3d, with each piece curved to fit the human form, and each piece occupying its unique spot in space.

The Tats Series is part of an ongoing project of abstract, realistic paintings destined for The White Cloud Gallery in Washington D.C. this fall.

Michael Newberry