Artist Talk: Ryan Singer | Childhood Mythologies

Ryan Singer hosts an artist talk for his solo exhibition, Childhood Mythologies on Saturday, March 30 from 2 to 3 pm. Childhood Mythologies showcases original narratives inspired by dreams and childhood memories while interweaving subtle socio-political commentary.

For Singer, the exhibition is an opportunity to showcase his paintings on a larger scale. Although the theme of Childhood Mythologies offered Singer the opportunity to touch on social issues, the artist is purposefully withholding commentary or explanation. “The paintings are different parts of my life, and I put them together like a puzzle,” the artist explains. “I think if I say too much it ruins it, so I leave it up to interpretation. I want other people to weave their own stories into it as well.”

 

RSVP for this event.

Learn more about the opening reception.

 

 

Artist Spotlight: Heidi Brandow

 

 

heidi brandow, heidi k brandow, heidi brandow artist, heidi brando art, heidi brandow margins, margins heidi brandow, hiedi brandow mixed media, form & concept, form and concept gallery, form & concept heidi brandow, heidi brandow form & concept, heidi brandow form and concept, form and concept  heidi brandow, form and concept margins, mixed media art

Heidi Brandow, Margins, mixed media on panel, 18 x 24 in

 

“I knew from an early age that our native identity is so rich that we shouldn’t just hold it to a specific ceremony or spiritual practice,” Heidi Brandow said during a studio visit in 2016. “In my eyes, art is a tool that helps mark history, time, place and memory. Who’s to say pop culture are not equally as important as star sticks?”

heidi brandow, heidi k brandow, heidi brandow art, heidi brandow daydreaming, heidi brandow octopus, heidi brandow art, heidi brandow artist, santa fe artist, form & concept, form and concept, santa fe artist, form and concept heidi brandow, form & concept heidi brandow, form & concept daydreamingDaydream, mixed media on panel, 5.5 x 12 x 1 in

Brandow’s works often feature whimsical monsters and characters against vividly colorful backdrops and paper collages she collects on her international travels.

heidi brandow, heidi k brandow, heidi brandow artist, picture of heidi brandow, heidi brandow artist picture, santa fe artist

 

Brandow was recently awarded the third Ucross Fellowship for Native American Visual Artists.

“As an artist with an active arts practice, a full-time commitment to the Institute of American Indian Arts, and a family,” says Heidi. “I am grateful for Ucross’ support in granting me the time, space, and resources to enhance my craft and create in such a beautiful setting.”

 

heidi brandow, heidi k brandow, heidi brandow artist, heidi brandow low tide, low tide heidi brandow, mixed media painting, collage painting, santa fe artist, santa fe gallery, form & concept, form and concept, form & concept heidi brandow

Low Tide, mixed media painting, 5.5 x 5.5 x 1.5 in

 

To learn more about Heidi, please inquire or call us at (505) 216-1256.

Click here to view more works by Heidi Brandow in our collection.

Scroll below to read excerpts from our 2016 studio interview.

 

Do the monsters have names, or story lines? 

For me personally, they don’t have names, and there’s no story behind any of them. I try not to put too much of my own self into them. I don’t want to over personalize it. These are a nice outlet for me to create work that is lighthearted, that is easy. It’s very fluid. I feel like when people see it, they get it immediately. Whether you like it or you don’t like it, it’s a visceral thing. It’s not too theory-based.

I want my work to reach everyone. I don’t come from a community or people that are heavy academicians. In fact, I would argue that the art world has largely blocked out people of color from participating in art to a large extent.

On the other hand, I think a lot of the work I do is a little heavier. This is a nice outlet, where I can just make work that is more lighthearted and fun.

 

heidi brandow, heidi k brandow, heidi brandow floating, floating heidi brandow, heidi brandow monsters, floating form & concept, floating form and concept, mixed media painting, moster painting

Floating, mixed-media on panel, 5 x 5 x 3 in

 

How does your own cultural heritage figure into your work? 

I never entered the art scene on the basis of promoting myself or my work as Native art. Not because I was shying away from it, but because my idea of Native art was a lot of very cultural referenced work, such as very specific tribal motifs and designs. The stuff that I was doing wasn’t like that. I never felt weird about it, because I always felt like my Native identity is already in this work, whether or not there’s symbols or direct references to cultural place. The simple fact that I’m Native and that this is the work that I’m making, there’s no way of denying my heritage and my experience, or saying that it’s not implicitly in the work. I don’t believe it has to have direct references to culture and place.

Culturally Native people are so diverse and our experience is so diverse. If you look at someone like myself, being Native Hawaiian and Navajo or Dinè, they’re two entirely different cultures. They’re both Native, but it’s ocean and desert people. That’s only the first difference, right? Of course we have a lot of similar cultural values, but it’s like night and day in a lot of ways.

 

heidi brandow, heidi k brandow, heidi brandow artist, heidi brandow art, heidi brandow diptych, fences diptych, form and concept fences diptych, form & concept

Fences (diptych) mixed media painting, 5.5 x 11 x 1.5 in

 

Do the monsters have names, or story lines? 

For me personally, they don’t have names, and there’s no story behind any of them. I try not to put too much of my own self into them. I don’t want to over personalize it. These are a nice outlet for me to create work that is lighthearted, that is easy. It’s very fluid. I feel like when people see it, they get it immediately. Whether you like it or you don’t like it, it’s a visceral thing. It’s not too theory-based.

I want my work to reach everyone. I don’t come from a community or people that are heavy academicians. In fact, I would argue that the art world has largely blocked out people of color from participating in art to a large extent.

On the other hand, I think a lot of the work I do is a little heavier. This is a nice outlet, where I can just make work that is more lighthearted and fun.

 

heidi brandow, heidi k brandow, heidi brandow artsit, heidi brandow altin, heidi brandow art, heidi brandow altin art, form and concept altin, form & concept altin, form & concept altin heidi brandow

Altin, mixed-media, 5.5 x 12 x 1 in

Closing Reception: Matthew Mullins | The Sun In Our Bones

RSVP on Facebook.

Join Matthew Mullins at a closing reception for his solo exhibition The Sun In Our Bones. His work will span form & concept’s ground floor, the second exhibition in the gallery’s two-year history to devote an entire level to a single artist. The title of the exhibition is a reference to an unconventional material Mullins has incorporated into some of his cosmic paintings: pigment made from burnt animal bones. “The calcium and phosphorous in those bones, and our own, are made in stars,” Mullins says. “It’s truly all connected.”

read more

This Saturday: Matthew Mullins Artist Talk

matthew mullins, the sun in our bones, matthew mullins art, matthew mullins exhibition, matthew mullins solo exhibition, form & concept, form and concept, santa fe art

 

This Saturday, Matthew Mullins hosts an artist talk for his solo exhibition The Sun In Our Bones. When Mullins began working on the monumental show last year, he was shooting for the stars. “I thought about this spectrum of very earthy and grounded to the cosmos,” says Mullins. “How do you encompass that staggering span, and pull someone all the way through it?” The exhibition is on view through November 17, 2018. Scroll down to see selections from the exhibition, and click here to browse all of the artwork online.

 

matthew mullins, source of the rio nambe, the sun in our bones, matthew mullins artist, matthew mullins art, santa fe artist, new mexico art, santa fe art, form & concept, form and concept, santa fe gallery, santa fe art
Matthew Mullins, Source of the Rio Nambe, oil on canvas

 

Matthew Mullins, dome, santa fe artist, santa fe art, new mexico artist, matthew mullins artist, matthew mullins art, form & concept, form and concept, santa fe gallery, satna fe galleries
Matthew Mullins, Dome, 19th century engraving with gold leaf
matthew mullins, chama river, pinhole photography, santa fe artist, matthew mullins artist, new mexico art, new mexico artist, santa fe gallery, form & concept, form and concept
Matthew Mullins, Chama River, archival pigment print

Press Roundup: Matthew Mullins | The Sun In Our Bones

Tonight, Santa Fe artist Matthew Mullins presents his solo exhibition The Sun in Our Bones. Mullins’s work is inspired by the intrinsic links between humans and the natural world. He has a lot of ground to cover, which is why we’ve dedicated our entire ground floor to showcase his paintings, photographs, and sculptures.

We visited Matthew’s studio to talk about his process and inspiration for his show. “I want people to look beyond what’s right in front of us,” says Mullins. “And make them aware of our own cosmic origins.” Check out the video above to learn more about his artistic practice.

matthew mullins, santa fe artist, santa fe art, form and concept, form & concept,

Mullins also gave Megan Bennett of the Albuquerque Journal a tour of his studio. Here’s an excerpt:

Mullins thinks of the patterns as a representation of the human experience of being out there nature.

“If you’re in one of these places or in nature just staring off into the trees, I feel the mind kind of wanders a little bit,” he said. “Like you’re looking at the landscape, but other thoughts come in. You lose it, and then you see the landscape.

“So I like the representational qualities with the landscape, as well as the abstract patterns. The brain can go from experiencing the depth and light of the landscape to the flatness and rhythm of the abstraction. The brain toddles back and forth, and it creates a more dynamic experience that’s kind of uncontrollable.”

matthew mullins, the sun in our bones, form and concept, form & concept, santa fe artist, santa fe art, santa fe gallery, cosmic art

Mullins was also the subject of Emily Van Cleve’s article in the Santa Fe Arts Journal. Check out this quote:

An award-winning professional artist who moved to Santa Fe in 2011, Mullins has been working on the pieces in “The Sun in our Bodies” for the past two years.

“My work draws upon my fascination with visual perception and the forces of nature,” he says. “By integrating human-made constructs with natural environments, I’m composing a relationship that is often deconstructed or forgotten in today’s society.

The press doesn’t stop there! The Santa Fe Reporter brought Mullins in for their 3 Questions Column. Here’s what he had to say about The Sun in Our Bone’s overarching theme:

The theme is trying to make art that can connect the viewer with nature and the cosmos. A lot of pieces in the show are about how the materials in our own body are made of the stars, and how the elements that give us life and the ability to have consciousness come from the stars. I’m really trying to drive that point home. The title of the show, The Sun in Our Bones, comes from a poem by poem by Nayyirah Waheed, and really conveys what I’m trying to do with art.

The Sun in Our Bones opens September 28th at 5 PM and runs through November 17th. Mullins will conduct an Artist Talk on the 20th of October.

 

Opening: Matthew Mullins | The Sun In Our Bones

RSVP on Facebook.

Santa Fe artist Matthew Mullins presents a solo exhibition of paintings, photographs and sculptures, inspired by the intrinsic links between humans and the natural world. Known for his mixed-media paintings that visually connect landscapes with human-made, geometric patterns, Mullins broadens his practice to encompass photography and sculpture. With this expanded artistic palette, he draws viewers across time and space—from a windswept patch of grass to the swirling cosmos.

read more

Preview: Matthew Mullins | The Sun In Our Bones

Matthew Mullins- The Sun In Our Bones- Oil on Canvas- Form and Concept Gallery- Santa Fe New Mexico

Matthew Mullins is an avid hiker and distance runner, and lately he’s been leaving artwork behind on his adventures through New Mexico’s high desert. He’ll install pinhole cameras in remote areas, note their coordinates, and return for them weeks or months later. The final images reflect the shifting path of the sun and other natural phenomena—that is, if Mullins can retrieve them. Weather and wild animals have destroyed several cameras, and others have vanished without a trace. Despite the occasional lost artwork, Mullins says his far-flung creative process is worth the risk.

“With these pinhole photos, I’m presenting different ways to look at nature and different ways of seeing time,” the Santa Fe artist explains. “The incredibly long exposures require the cameras to be in remote locations, which always involves leaps of faith.” In his solo exhibition The Sun in Our Bones, opening Friday, September 28 from 5 to 7 pm, Mullins presents photographs, paintings and sculptures inspired by the intrinsic links between humans and the natural world. An artist talk follows on October 20, and a closing reception takes place on November 17.

Matthew Mullins- Orphan Mesa- Oil on Canvas- Form and Concept Gallery- Santa Fe New Mexico

When Mullins began working on The Sun in Our Bones last year, he was shooting for the stars. “I thought about making a series of artwork within a spectrum of very earthy and grounded to cosmic. I wanted to paint nature and natural processes from the subatomic world to the stars” says Mullins. “How do you encompass that staggering span, and pull someone all the way through it?” The Santa Fe artist has been working on a series of highly unconventional landscape paintings since moving to New Mexico from Berkeley, California in 2011. The works depict scenes from nature, often in a monochrome palette, with geometric patterns inspired by human-made designs cutting through them. A concurrent series of watercolor paintings features mandala patterns dotted with countless stars.

Branching out even further, the artist started experimenting with several new mediums. He gathered dry, twisted pieces of juniper wood on his outdoor excursions and brought them back to his studio, cleaning them, burnishing them and covering them with shiny graphite to accentuate their lines and textures. Through the pinhole photography series, Mullins found a method for depicting a temporal experience of landscape. “I really wanted to track time in a different way and also show the movement of our planet around the sun.  I didn’t think I could really get that in my paintings,” he says. “I love the idea of having these pinhole cameras out in the world. They’re working right now, so I’m making art 24/7.”

The Sun in Our Bones will span form & concept’s ground floor, the second show in the gallery’s two-year history (after Thais Mather’s Reckless Abandon in November 2017) to devote an entire level to a single artist. The title of the exhibition is a reference to an unconventional material Mullins has incorporated into some of his cosmic paintings: pigment made from burnt animal bones. “The calcium and phosphorous in those bones, and our own, are made in stars,” Mullins says. “It’s truly all connected.”

Matthew Mullins- Obsidian Ridge- Pinhole Photograph- Form and Concept Gallery- Santa Fe New Mexico

For Mullins, the exhibition is a culmination of 15 years of work as a professional artist. Originally from the Bay Area of California, he received his MFA from University of California Berkeley. There, he began his career with his Artifacts & Archives paintings, a series of photo-realistic watercolors that replicate the archival environments and materials he had access to during his graduate studies.

Mullins received the prestigious Eisner Prize for Visual Art in 2010, a year before relocating to New Mexico. Following the move, he was inspired by the desolate, sweeping landscapes of the Desert Southwest to shift from an illustrative style to semi-abstraction. Through his latest work, Mullins has sought to show the connection between human consciousness and the natural world. “Humans are part of the natural world,” says Mullins. “But we often become so focused on our individuality that we lose track of that greater connection. My work is about reintegrating with nature and finding unity in that relationship.”

Learn more about this exhibition.
RSVP for the opening on Facebook.

Curator’s Selection: Matthew Mullins | Inner Orbit

For the second entry in our new Curator’s Selection video series (check out the first one here), form & concept gallery director Frank Rose discussed an artwork by Matthew Mullins from the group exhibition Inner Orbit. Matt’s mixed-media painting The Sun Is In Our Bones is an anchor of the show, which explores personal and cultural visions of outer space, and it’s also an introduction to his next body of work. In late September, he’ll debut a solo exhibition called The Sun In Our Bones that will span our ground floor. Learn more about the painting in the video above, then click over to the exhibition page to discover how it connects with the themes of the forthcoming show.

Matthew Mullins- The Sun Is In Our Bones- Mixed-Media Painting- Form and Concept Gallery- Santa Fe New Mexico

Here is Matt’s meditation on his painting The Sun Is In Our Bones:

The Sun Is In Our Bones is a meditation on the cosmic origins of the elements that comprise our bodies. The elements in our bodies such as carbon, calcium and iron were forged by the extreme forces that exist inside stars, supernovae and other cosmic events. It’s fascinating to think about the journey our bodies’ atomic ingredients have had, and that all of those individual atoms are now working together to form you and me. These elements that have existed for eons are engaged in a mysterious dance that allows us to maintain our complicated biological processes and even consciousness, empathy and love.

The black paint in this piece is made from burnt cow bones. The atoms of calcium and phosphorus from those bones, just like in our bones, were created in the stars. So, the material used in this painting was actually created in space and once provided life to other beings. The title The Sun In Our Bones is not only poetic, it can be taken somewhat literally. The bare linen that the stars seem to be growing into represents yet-to-be-created space. The handprints on the sides are traced from my hands and my wife’s hands, and represent the evolution of human consciousness from the elemental, raw ingredients created inside the stars.

Crystalline and Constellate are meditations on the subatomic world within our bodies. These paintings are nearly photo-realistic depictions of a matrix of atoms being lit up with a laser beam. The source photos that I painted from were taken with an electron microscope. I am awestruck by the intelligent orderliness, but also the mysterious fluidity, of the world experienced at this scale. Our own bodies look similar when viewed from a small enough vantage point.

Click here to browse the complete Inner Orbit exhibition on our website. The show appears in conjunction with Santa Fe Futurition, the Currents New Media Festival, and the Santa Fe Institute’s Interplanetary Festival.

Artist Talk: Wesley Anderegg | ARIZONA

RSVP on Facebook.

Join Wesley Anderegg for this artist talk on Saturday, March 31 from 2 to 3 pm. His solo exhibition ARIZONA opens on Friday, March 30 from 5 to 7 pm and runs through May 19, 2018.

The mosaical visual memoir that makes up Anderegg’s ARIZONA exhibition started as a happy accident. “I had a bunch of these ceramic squares made, and they were just sitting there,” he says. Anderegg is known for his sculptural depictions of somewhat impish figures who are often in comical conflict or cartoonish peril. The fresh stack of ceramic tiles inspired him to play around with more complex 2D compositions. “I got this idea to make these markers of my time in Arizona, the dusty palette and everything,” he says. “It’s just memories of my childhood, all the crazy crap we used to do.”

Learn more about this exhibition.

Events

Opening Reception: Friday, March 30, 5-7 pm | RSVP on Facebook
Artist Talk: Saturday, March 31, 2-3 pm | RSVP on Facebook

Opening: Wesley Anderegg | ARIZONA

RSVP on Facebook.

“Everybody that lives in New Mexico goes to Arizona every once in awhile,” says Wesley Anderegg. “That’s the only reason Arizona exists, is to drive through to go to California.” It’s a particularly sacrilegious statement for a born-and-raised Arizonan, but Anderegg hasn’t lived there for decades. He’s also never directly revisited his wild childhood through his figurative ceramics—until now. “As you get older, you kind of get reminiscing,” says the California-based artist. “It’s like, oh man, I’m on the downslope these days. Time to look back.”

In a new series of diminutive ceramic tiles, Anderegg flattens his tragicomic sculptural figures with a playful nod to Pop Art paintings and comic book panels. The painted compositions evoke Anderegg’s experience growing up in the sun-drenched and lawless Sonoran Desert. Wesley Anderegg: ARIZONA debuts at form & concept on Friday, March 30 from 5 to 7 pm. Anderegg recognizes the humor of mounting a show called ARIZONA one state to the east, but it’s a simple matter of personal preference. “I thought about actually having it in Arizona, but I like you guys better,” he says with a grin.

Wesley Anderegg: ARIZONA debuts at form & concept on Friday, March 30 from 5 to 7 pm, with an artist talk on Saturday, March 31 from 2 to 3 pm. The show runs through May 19, 2018.

Learn more about this exhibition.

Events

Opening Reception: Friday, March 30, 5-7 pm | RSVP on Facebook
Artist Talk: Saturday, March 31, 2-3 pm | RSVP on Facebook