Wednesday, November 19, 2014

Photo Survey Washington County Museum of Fine Arts Exhibition




Here is a collection of photos from my current exhibition, The Mirror of Nature: The Art of Philip Koch at the Washington County Museum of Fine Arts in Hagerstown, MD. The show opened with a spirited crowd on Friday, Nov. 7. I gave a slide presentation and gallery talk on Sunday, Nov. 16. The show continues through Feb. 22, 2015.







Normally on this blog I write commentary about my work and philosophy. Just for this time though I'd like to let the work speak for itself.



















































































































































































Saturday, November 8, 2014

Returning


Above is the view of one of the walls in the Washington County Museum of Fine Arts' Bowman Gallery hung with my paintings for their show that opened last evening, The Mirror of Nature: The Art of Philip Koch. The show will run in this Hagerstown, MD Museum through Feb. 22, 2015. Back in 1995 the Museum hung a smaller exhibit of my work in the same space. This new show included much more work and fills more of the Museum's galleries. Yet for me standing in the galleries last night I was struck with the sense I and my work were returning to an important chapter from my past. 

In fact one of my favorite paintings in the new show is titled Returning.

So often the world seems to bowl us over with a river of sensations. If we took in all of this deluge consciously we'd be completely overloaded.  I think we'd be unable to move. We had to evolve to be selective about what we notice.



Philip Koch, Returning, oil on canvas, 28 x 42", 2008

Instead most of what's going on around us and even inside of us remains outside of our awareness. We can become so distracted by the needs of the moment that we lose touch with big parts of ourselves. 

Who hasn't noticed how sometimes certain things or people just seem to thrust themselves into our emotional foreground. For example when I happened upon the red house that would become the subject for my painting Returning,  I realized a mysterious urge to go back and look at it again. And again after that. There was something about the scene that triggered a long buried memory of how I feel about things. 


I grew up in a remote house in a deep forest on the shore of northern Lake Ontario. As I think now of those early years the most  vivid image that come to me is the forceful presence of the old growth forest. Insanely unpredictable patterns of naked tree branches casting shadows onto the trunks of large trees. That image the surrounds every notable event of my childhood. 




We can't recall all of even the most important events of our early lives and gradually they sink below the surface of conscious memory. Yet they remain like smoldering embers of a still hot fire in our unconscious minds. They lay there dormant for years, warming the bedrock of who we really are.

I think at the heart of art is this recalling of these lost pieces of ourselves.





At one time my painting Returning had a prominent figure reaching to open the porch door. Yet somehow he seemed beside the point. I painted him out and let the foreground tree take center stage. And with that the painting sounded a deeper and more true note. I was putting the spotlight on the form that most aptly told the story the painting wanted to tell.




 Here's the painting as it looked last evening at the opening reception for Washington County Museum of Fine Arts' exhibition.



A painting that particularly grabs at you is doing you a favor. It is holding up a mirror to you to show you another side of your real nature. Perhaps my painting Returning will return to you something important you'd temporarily lost sight of.


Upcoming Slide and Gallery Talk:


Philip Koch will give a slide presentation and gallery talk on his painting career at the Washington County Museum of Fine Arts on Sunday, Nov. 16 at 2:30 p.m. Free and open to the public. All invited!




Tuesday, October 28, 2014

My Art, My Celebrations




Philip Koch, Under the Moon, oil on canvas, 24 x 36"


For much of the time we are absorbed by the little details of our lives. It is too easy to forget the mere fact of our being alive is completely extraordinary.

Yet to all of us come brief moments when the usual veil of confusion lifts. We suddenly grasp a connection between things that we'd thought unconnected. It's as if we begin hearing whispers of a previously secret conversation that has been going on all along. In moments like that we can feel a surge of gratitude. It would be foolish not celebrate the feeling. Seizing that and giving it a form we can share with others has been the task of artists through the ages.




Philip Koch, From Day to Night,  oil on canvas, 36 x 72"

Right now I am sitting in a room in my studio surrounded by my 32 paintings that will be headed out to Hagerstown, MD next week for my show at the Washington County Museum of Fine Arts. As I look over the pieces I fall back into thinking of the times when each was being painted. 

Like anyone, my own life has been a mixture of delights, contentment, as well as personal setbacks and losses. Maybe most of all I find what living looks and feels like is unexpected and surprising. Many people have commented that my paintings can have a moody and slightly other-worldly feel to them. I agree. 


Philip Koch, The Song of All Days, oil on panel, 36 x 72"


Yet I'd answer my works are truthful to how living in our world actually feels on the inside. It is not enough for a landscape to be merely pretty. To be really beautiful in any meaningful sense a painting has to have teeth, some touch of somberness, as well as a brilliant light and delicious sensuous colors. It has to exclaim at least a little bit that this living business is a completely wild ride.


Philip Koch, The Voyage, oil on canvas, 38 x 38"


Here are five of my oils that to me perhaps best express my sense about what art is supposed to be. These are some of my Celebrations.


Philip Koch, Equinox, oil on panel, 30 x 45"


The Mirror of Nature: The Art of Philip Koch runs Nov. 8, 2014 - Feb. 22, 2015. On Friday, Nov. 7 there is a ticketed gala opening reception for the exhibition from 5 - 7 p.m. Museum members $15, non-members $20. The Museum requests an RSVP by Oct. 30. Call
301-739-5727.

On Sunday, Nov. 7 there will be a gallery talk and slide lecture with the artist at 2:30 p.m. Admission to the Museum is free.

Tuesday, October 21, 2014

What I Learned from My Ink Wash Drawings


Philip Koch, The Trees, sepia, 30 x 42", 1985

All of us are on a long journey. Who we are today is the product of sometimes amazingly contradictory influences. For an artist every medium they employ offers them a different lesson. 

I was in my painting storage room organizing work for my upcoming solo exhibition at the Washington County Museum of Fine Arts (Nov. 8, 2014 - Feb. 22, 2015).  I stumbled upon four of my large ink wash drawings, snugly resting in the painting racks. That was enough to spin me off into reminiscing how they played a decisive role in my growth as a painter.

A little history:  When I first began painting I was attracted to the geometric abstractions of the 1960's and painted with big flat shapes of intense acrylic colors. As I reached grad school at Indiana University I unexpectedly fell in love with the University Art Museum's 19th century landscape paintings. They propelled me into a darkly moody world, with me painting in oil over canvases first covered in a deep umber brown. Here's my oil Fall at Lake Lemon, 16 x 20" from 1971 as an example. The hills and trees are mostly middle-toned to dark, with smaller light accents providing the contrasts. For much of the next decade this was my default method.



In the mid 1980's I started looking once again at the quick wash drawings Rembrandt used to make with sepia colored ink. I was struck by the beautiful overall lightness of his drawings. They seemed to be infused with a sun-filled mist. Here's a Rembrandt ink wash drawing from the 1650's.



I resolved it was time for me to try my hand at some large scale wash drawings.



Philip Koch, Daybreak II, sepia,, 28 x 42" 1985

Work on paper has a sensibility all its own. Especially when working in transparent washes, it most often it coaxes the paintings to be tonally lighter. Using just a few small dark accents can suffice to inject contrast. 



Philip Koch, Down to the Bay, sepia, 22 x 44", 1986


What was so helpful to me in doing these works on paper was how it reoriented my thinking about what the overall tone of my oil paintings could and should be. 


Philip Koch, Summer III, sepia, 31 x 41 1/2", 1985


The tonal habits I acquired by working in ink washes gradually transitioned in the '90's into another work on paper medium, vine charcoal. Like ink wash, it's unrivaled for its sense of light and shadow and for wrapping an image up in a blanket of atmosphere. 

I focus so much on drawing as it's central to how I build my oil paintings. But it was my work in ink wash that opened my eyes to how to really use vine charcoal.


Philip Koch, Old Railway, Truro, vine charcoal, 9 x 12", 1998.

Saturday, October 11, 2014

How Did Edward Hopper Make a Watercolor? (Updated)


I was staying and working in the studio Edward Hopper designed and had built on Cape Cod in Truro, MA for my15th residency a week and a half ago. Above you can see Hopper's easel where for 30 years he produced many of his most famous paintings. The three windows look out from a great height over Cape Cod Bay. In a word: inspiring.

Hopper first gained wide acclaim through his watercolors. Most of them were done at a fairly large scale on cold press 140 lbs. watercolor paper (that's a medium weight subtly textured paper). To keep his watercolor paper from buckling as it became wet as he painted on it, Hopper would prepare the paper ahead of time by stretching. On the easel in the photo above is a piece of watercolor paper stretched by Hopper that is patiently waiting for him to return and paint on it. 

 Here's a close up of the front side of the prepared paper. Over the years it has sagged a little from its original smooth completely flat state.



Hopper first soaked his watercolor paper in water and carefully wrapped it over simple wooden stretcher bars (identical to the commercially produced stretcher bars painters use now). Today's artists would use a staple gun, but Hopper fastened his paper down with old fashioned thumb tacks all around the its four sides. Anyone who has dropped a dry sponge in water and seen it dramatically expand in size can visualize how Hopper's watercolor paper had swelled as he wet it.




As the paper dried it would shrink to a completely flat and drum-tight surface. 

Hopper loved nothing better than working outdoors in direct sunlight which probably accounts for his ability to render a palpable intensity when he painted the highlighted areas in his paintings. But he disliked it when the light would shine though his only semi-opaque watercolor paper from the backside, throwing off his judgment of his darks and lights. 

He solved the problem by tacking several pages of the sports section from an old edition of the New York Times. Previously I'd failed to find the date on the tattered newspapers. My friend Bonnie Clause, the author of Edward Hopper in Vermont, did some very resourceful research by entering phrases she saw in the photo into the NYTimes archives and established that the sports pages backing date from Sept. 19, 1948.  




Here's my own French easel set up in the large painting room with Hopper's easel in the far corner.




Below is one of my vine charcoal drawings of Hopper's easel holding  this stretched watercolor paper in the corner of the room. Normally I cover most of my drawings' surface with broad areas of shadowy tones. But I liked the simple rhythms of the shapes of the easel and Hopper's chair and decided to leave the piece as more a basic line drawing.





Here's a concluding picture of me going back to painting in oils. This is in the adjoining bedroom, with a view through the door at the left of Hopper's big painting room. (You can see the small oil on my easel in my previous blog post). 



Upcoming: 

A number of paintings, pastels, and vine charcoal drawings I've made in Hopper's studio will be included in The Mirror of Nature: The Art of Philip Koch at the Washington County Museum of Fine Arts in Hagerstown, MD Nov. 8, 2014 - Feb, 22, 2015.





Edward Hopper House Art Center in Nyack, NY (Hopper's childhood home) will show additional paintings I've made in Hopper's studio in their solo exhibit of my work Feb. 14 - April 12, 2015.