ARTOMATIC 2008 OPENS DOORS

Artomatic 2008: May 9 - June 15, 2008.

WHERE DO YOU WANT THIS KILLING DONE?
We speak with the language of war. We laugh with the language of peace. Knowing that all life is born of crisis, punctuated by brief periods of solace, we also know that after all is said and done, we shall never cheat infinity, nor shall we extinguish the mark of a single thought.
—Gabriel Thy

I MUST ADMIT THAT I WAS LESS than enthusiastic about this year's spectacle of art. In addition to suffering from a bum knee for about a month now, I was disappointed that I didn't even receive a single phone call expressing interest after last year's event at the old Patent Office in Crystal City, and just wanted to stay in the studio and practice the art for which I stand, while the rest of my fellow artists brave the elements of mass hypnosis without me. But this year's event is just five walking blocks from my studio. The logistics of cross-pollination proved inevitable. Even though my knee was ailing, and I await probable surgery, I signed up, paid my entry fee, and plotted for the best of times.

Even though my horizontal allotment last year was more spacious and allowed for a more sophisticated prep job and display, I had already decided to scale down, keeping it simple, and present some of the older work, maintaining the theme portrayed above. I purchased a string of multi-directional lights that were made available by an on-site contractor, but they required a certain level of proficient assembly I avoided by opting for a three-bulb standing lamp I pulled from the studio. Like last year, the scheduling proximity to the 52 O Street Open Studios did nothing to ease an already tense situation.

But I'm hung, and prepared to greet the silence of competition and the noise of public curiosity. My work at this year's Artomatic...

1. Killer Corpse - $375
20”x16”, acrylic on canvas (2005)

2. Risk Management - $350
20”x16”, acrylic on canvas (2005)

3. Future Shock - $1050
36”x36” diptych, acrylic on canvas (2006)

4. Moirae (Klotho, Lakhesis, Antropos) - $350
20”x16”, acrylic on canvas (2006)

5. Manowar Destiny - $350
20”x16”, acrylic on canvas (2007)

According to event historians, Artomatic 2008 will be the largest Artomatic to date with over 1000 visual (2D & 3D), video, musical, and theatrical artists represented. Hosted by the NoMa (north of Massachusetts Avenue) Business Improvement District (BID), Artomatic 2008 will be held on nine floors (more than 200,000 square feet) of the Capitol Plaza I building. The building is located at 1200 First Street, N.E., just one block west of the New York Avenue Metro station, in Washington, DC.

Artomatic opens Friday, May 9, 12PM
Wednesdays and Thursdays: 5PM—10PM
Fridays and Saturdays: NOON—2AM
Sundays: NOON—10PM
Mondays and Tuesdays: Closed

Artomatic closes on Sunday, June 15.

OPEN STUDIOS POSTSCRIPT

THE ANNUAL 52 O STREET Open Studios event was a riveting success for the building. if not specifically in terms of sales for some of us. However, the electric energy and upbeat response both days from the visiting public of record turnout was shared by all.

Commented one artist in the building just this morning, "I am still so jazzed about the turnout and having so many new faces in my studio. I am grateful for the new interest in my work, compliments of your friends and collectors. There was a general feeling from the visitors that 'O' Street is a happening place. I couldn't agree more."

I was initially thrilled by the response to my own work, having sold a few smaller prints and tiny paintings, and was inspired by the idea that I had finally found comfort among the breeds and was no longer working against the winds that were always changing. One of my six large drawings on paper from 1984 elicited lots of positive attention. More smaller pieces from that same period were lauded far beyond any expectations of the day when they were created. Several larger canvases are still potential sales.

But it seems I have created somewhat of a scandal with a recently completed large piece. I now realize I must step back, and bring my theories of both art in general and those influencing my own work into clear focus. And I must also revisit an earlier idea of mine. Since we have inherited the observation that a picture is worth a thousand words, and the art consumer, dealer, and critic all seem to require in this DIY Age that the artist nee businessman must dance to a requisite tune, while weaving a charming story for their entertainment and edification, I feel the composition might as well be politely considered, committed to media and presented in a fine light persuasive to the work. So be it. By the will of the people, I will tighten up my affairs before I again open myself up to whatever the world seems fit to do with me.

My populist notions have seen better days. So now is not the time to return to half-measures. I have a few thoughts I'm just itching to implement.

MOMENT OF DESTINY

THANKS CHAR—actually our event continues today, but I understand.

Yesterday was a smashing success. Quite a few "big money" collectors were in the building, in the words of my mentor here. In fact, one of my several large "magic marker" drawings from the 1984 captured gratifying purchase talk from several "serious" collectors, but I had to delay any sale simply because I had not expected to sell the drawing which I have only recently had glue-mounted after years of being folded up in a box, and I needed to confer with that mentor for suitable pricing. It may actually fetch $3500-$5000. Amazing. Or it could just be another near miss, but by the end of the shift it was one long blitzkrieg of anxiety and exhileration.

52 O Street Studios is well-known in the DC art scene, so the annual open studios event does draw respectively well for a transitional location. Today should be a formidable encore.

And yes, I do occasionally mount a grudge against the powers. I mean, after all, ART is a contact sport, and when's the last time the art scene has been full body tackled, scenewashed, and then hung out to dry for its own good?

Oh, and thanks so much for the latest "rock" necklace. I'm wearing it today for the first time. My "public" is forcing me to "rock harder" so I suppose I might as well dress even more the part. Trust all is well with your own health and business. Give our love to Skip.

(Since he was so kind as to give us his flu back in March! Ha!)

Cheers and rising circumstances,

Gabriel

OPEN STUDIOS AT 52 O STREET

TWENTY-FOUR ARTISTS, in one building, working in a wide range of media and styles open their studios for a rare glimpse into the process behind their art. This free event provides the visitor the opportunity to purchase artwork and meet the artists in a relaxed, inviting atmosphere. Occupying 28,000 square feet, over four floors, 52 O Street Studios is one of the largest and oldest buildings dedicated to the practice of Fine Arts in Washington, DC.

52 O Street Studios is located a short walk from Metro's New York Avenue Red Line stop, amidst the burgeoning North Capitol Street corridor. The artists working here are proud of this historic building, its idiosyncrasies, and the myriad of artists who have created here in the past.

Today, the building is occupied by painters, sculptors, photographers, jewelers, woodworkers, and video artists who seek to continue and advance the guiding principle behind its opening in 1979, "to create an affordable working space for artists in Washington DC."

This year's artists include:

• Stevens Jay Carter
  
• Brooke Clagett
  
• Betsy Damos
  
• Chris Edmunds
  
• Adam Eig
  
• Thom Flynn
  
• Cianne Fragione
  
• H2O n2 Wine Films
  
• Andrea Haffner
  
• Peter Harper
  
• Mike Harris
  
• Matt Hollis
  
• Luke Idziak
  
• B. Neal Jones
  
• Micheline Klagsbrun
  
• Raye Leith
  
• Greg McLellan
  
• Brandon Moses
  
• Kendall Nordin
  
• Holly & Ashlee Temple
  
• Lisa Marie Thalhammer
  
• Gabriel Thy
  
• Ben Tolman

LOUD SIGNATURES

Artist and wife, Sue Hedrick, in front of work at Artomatic

Originally published on April 15, 2007

AS THE MOUNTING PRESSURE of two upcoming events (Open Studios and Artomatic) eases, I thought I’d offer up an example of a work-in-progress. Inspired by daily world events, this picture is presently called “Loud Signatures.” Remember, I rarely begin a painting with a specific concept in mind, but by a limited series of choices paint what is set before me as refracted against a congealing consciousness compelling me to represent the competing forces of my symbolic vocabulary. The internal logic of a finished picture, if any, is influenced by those random choices and the whimsy of each competitive brush stroke itself.

Okay, I’ve taken down the work in progress, replacing it with these fine people standing in front of some wickedly jolly painting at the Artomatic ‘07 event.