2012 Press Release

WebhGround 1           16" x 24"          Beeswax and natural pigments

SHOWCASE OF LATEST ART WORK AND SHOWS FROM GREG PATCH

JANUARY 2012- Greg Patch was introduced to art during the 60’s era of anti-establishment and high ideals. Studying in New Mexico and New York Greg’s work evolved through a web of inquisitive explorations with the world surrounding him and with the time and space through traditional landscape painting and social “happenings”. Greg Patch is an artist whose work has continued to evolve; starting with his charcoal sketches and morphing abstract expressionistic landscapes and figure studies. In his work the artist continues to play with texture, shape, line and color, as well as with the relationship they hold with one another. He melds alternative healing practices with using non-toxic and recycled material with abstract expressionism roots. The artist has woven techniques to express rich textures while expressing socio-environmental statements in his work and the mediums he chooses.

         In a series including WebhGround 1 and 3, Greg Patch makes culturally connected gestures with different mediums of pigment and papers. Mr. Patch used Papel de Amante, a non-paper made by the Atomi/Otami mountain people of Central Mexico and Khadi paper, made in SW India from recycled cotton rags. With geomantic connections and uniquely combining two seemingly different cultural heritages, both Webh 1 and 3 examine connections and communications using the grid, color and texture. Webh 1 and 3 colorfully induce a meditative trance like state which Greg expresses through his experiences working in alternative healing modalities. Greg looks to inspire and catalyze the viewer by melding cultures and creating conversational pieces that conjure social discussion and insight.

                                       WebhGround 3           16" x 24"          Beeswax and natural pigment                                    

       Patch’s cultural and environmental statements appear throughout WebhGround 1 and 3. Patch's work implies a connection between the individual and the greater consciousness by inviting the viewer’s individual interpretation of these small works seen with universal expansiveness . The artist’s use of materials as subject matter for discussion and natural beeswax as his medium create layered discoveries throughout the 9-piece series. The artist states “...the connecting between all that is. Within the windows of the grid are the individuality and contrasting aspects of each that is; couple relationships, global communities relationships and the inner dynamic of each of me/us. It can represent philosophies, religions, politics and human or non-human entities:"

The artist’s dedication to non-toxic materials in his work is integral to his creative expression. In his WebGround Series he uses Stockmar Crayons, a natural beeswax from Germany based on the philosophies of Goethe and Rudolf Steiner. His most recent collections unite his vision of color and line with his strong values of environmental preservation while showcasing delicate gestures of texture.

 In his early experiences working for sculptors Willard Boepple and Robert Schuler, Patch was influenced by the texture, shape and diversity of these internationally acclaimed artist's work. Influences of alternative culture, Sacred Healing Arts and the study of indigenous cultures the artist accomplishes a melding of 1960’s idealism with traditional and futuristic science. In his work Patch explores social movements with a naturalistic and simple style and method. Greg Patch continues to integrate and express movement in space with texture and his medium, subject, approach and holistic lifestyle.

WebhGround 3 was included in “State of the Art/Art of the State” from May 2011-Oct 2011 at The Cameron Museum in Wilmington, North Carolina. The shows mission: to bring artists and established curators into discussion. Two of the featured curators were Susan Davidson of the Guggenheim and Nicholas Gullinan of The Tate in London. Greg’s work was included in “Natural Selection 2.0 Group Show” at Dakota State University, Karl E. Mundt Gallery Madison, South Dakota from Feb. 1 - Apr 1. 2011. The international exhibition of artists exploring the natural world through its raw materials was produced by artist/curator Destry Sparks. Other shows include "Edges and Curves Nothing in Between” a Benefit for the Haggus Society in Highland Park, CA., "Imprompt2" at the Carrack Modern Art, in Durham, NC., “Pop Up Art Group Show” at Organic Yoga, Wilmington, NC., "Cumulonimbus: a sky exhibit" at Projekte, Wilmington, NC. and "Wind, Sea & Water" at ArtExposure, Hampstead, NC.

The artist resides in Wilmington, North Carolina. He is involved with whole world social community movements and shows his work nationally and locally.

Greg Patch’s work is available online for viewing @ www.gregpatchart.com. He is currently represented and assisted by his daughter Caitlyn Patch.

Wilmington, NC Cameron Art Museum puts it on State of the Art/Art of the State

Went to check out the flow of artists lining up to enter their one piece into this unique event around 1:30 PM. Arrived back around 5 to a jammed parking lot and slipped into a spot off the grounds and conveniently close.
I'd applied online and was directed to the "sign in room" to get my entry number. #202 gave me a sense of being well grounded here!. Staff were at the beginning calls, "11 - 20", "21 - 30", etc. A well organized excitement filled the Cameron spaces. I ran into several local artists, a friend from FB, and met several new folk from different areas of NC. By 6:30 "201 - 210"!
Initially I was warmly and enthusiastically greeted by Susan Davidson, Senior Curator, Collections & Exhibitions at the Solomon R. Guggenheim Museum in NYC. Then a very attentive and personably interested interview about my work, WebhGround 3, by Timothy Anglin Burgard: The Ednah Root Curator of American Art and the Curator-in-Charge of the American Art Department for the Fine Arts Museums of San Francisco lasted for a couple minutes. Did I talk quickly Timothy?! The staff at the Cameron receiving the work were most careful in listening to and handling my installation requisites.
When I left a little after 7PM they had reached #33o something.
The opening is tonite. The works will remain at the Cameron thru Oct 31.
enThanks to everyone involved!

  

early line up

http://www.cameronartmuseum.com

State of the Art/Art of the State

May 8 – October 30, 2011

Organized by the Cameron Art Museum, this exhibition focuses on contemporary art by artists currently living in, or native to, the state of North Carolina. Artists are invited to bring a single work of art to be installed in the museum, delivering the work within a 24-hour period (between 5:00 pm Friday, May 6 and 5:00 pm Saturday, May 7, 2011). During this timeframe, one of three internationally renowned curators will be present to greet each artist, shake his/her hand - and direct the exhibition installation. All three curators will attend the exhibition opening on Saturday May 7, 2011 from 6:00-9:00 pm.

The design of this project provides any participating artist equal opportunity to meet a significant curator working in the field of contemporary art today and have their work seen by all three visiting curators. The curators for this event are Susan Davidson, Senior Curator, Collections & Exhibitions at the Solomon R. Guggenheim Museum, New York, and Nicholas Cullinan, Curator at the Tate Modern, London.

This event pays homage to the open, creative curatorial spirit of the late art world maverick, Walter Hopps (1932-2005). In 1978, responding to a comment from his junior colleague, Deborah Velders (Jensen) about the problems artists face gaining access to notable curators, Walter Hopps conceived an entirely open, unmediated event to remedy the situation. His program invited any artist to bring a single work of art, to meet Hopps, and see installation of work. This event called “36 Hours” occurred in a gritty, street-level alternative space called MOTA (Museum of Temporary Art), located in downtown Washington, D.C. There was no jurying, no selection (or rejection), and no entry fee. The only restrictions were size (work needed to fit through the door), weight (regarding transporting/placing and support capacity), and the delivery time frame (36 hours). This unprecedented opportunity for artists was covered by the Washington Post, and attracted over 400 works of art, all by artists living and working in the Washington, D.C. area.

Celebrated curators for State of the art/Art of the State event are:

Susan Davidson, Senior Curator, Collections & Exhibitions at the Solomon R. Guggenheim Museum in New York, New York;


Nicholas Cullinan, Curator at the Tate Modern, London, England;


Apsara Di Quinzio: Assistant curator of painting and sculpture at the San Francisco Museum of Modern Art; 


Timothy Anglin Burgard: The Ednah Root Curator of American Art and the Curator-in-Charge of the American Art Department for the Fine Arts Museums of San Francisco.


A few more shots;

line up to the "curator/install room"

artists waiting their spot

the event!

doors into from out to to into

staff preparing for hanging

curators chatting w/artists

Opening shows @802 NC Artists with a turnout that Sparkles for Wilmington and NC arts...

the public shows up to support NC Arts

wall to wall 

Looking Back...Facing Forward Opening at ArtExposure

Second Friday Opening
a look at artists... past and present work
tonite at ArtExposure Gallery, Hampstead, NC. Rt 17
6 - 8 PM

will be including Spring Osier, 2002 and WebhGround 9, 2010

http://www.greenartstudio.com/1519-springosier.html

http://gregpatch.blogspot.com/2010/10/blog-post.html

@ 1/2 partly done WebhGround 9

Preparing for an Opening

Organizing work for hanging at Sage Salon and Spa.

WebhGround 1, 2, 4, 5, 6 and 7 (#3 will be at the Rocky Mount Museum until between Mon hanging and the 23rd Opening. Will plan in its' spot for the opening)

Picked up Chakra Rising Wave Series 1, 2, 3, 4, 5, 6 and 7 from Porters Neck Yoga Spa this morning. They had "lost" the Bamboo rods and had been hanging them with fishing line. Some clean up of the work, as is typical after displaying somewhere for awhile and cutting and drilling 7 new rods.

Will take the large 5' x 10' Webh Celebration and my 3d piece Ocean Driftwood Wave for possible hanging if they fit the occasion. Other possibles include work from the Tile Series and the Infinity Series.
Will take many pieces and sense what I'll say with the presence of hanging the work in the space. Sage is an interesting space to display for me. They are a green Salon and Spa and have had their walls painted with non toxic wall paints and new "green surfaces and materials throughout the space. A higher energetic vibration that I'm excited about with hanging my work with. There are several rooms available for hanging.

Sage is preparing Invitations and will forward that for me to send out to my mail list and Sage is featuring it in their September newsletter. Natural Awakenings Mag announced it in their Aug issue and it will be on their calender of events online. I need to contact Going Green Mag to ask them to post it on their Calender today also. WILMA, Wilmington Women's mag may announce it in the photo op they gave me yesterday. Will also contact other local publications and hang the Invitation in various locations in our area.

Back to cutting and drilling more bamboo rods and selecting and cleaning and packing the pieces to take Mon.

WebGround 5

in progression

WebGround 4

WebGround 3

WebGround 3 is the latest piece from the WebGround Series. There is greater definition than in 1 and 2 between the intensity of the red layered onto the grid of the Papel de Amate and the violets, blues, greens, yellows and oranges within the "windows painted on the lower relief created by 

mounting the Papel de Amate upon the Khadi paper. The grid implies the connecting between all that is. Within the windows representing the individuality and contrasting aspects of each that is; couple relationships, global communities and the inner dynamic of each of us. It can represent philosophies, politics, and non human entities; bears or mollusks, or the inanimate and immaterial mountains, or the oceans and the streams , or the philosophies and the politics.

WebGround Series

click on images to enlarge

WeaveGround 1 and WeaveGround 2 are the first two pieces from a new series I'm working on. I'll be posting WeaveGround 3 tomorrow. I construct the surface by wheat pasting the Atomi paper to Khadi paper. Khadi is handmade in the Khadi region of southern India from recycled cotton rags by a family of papermakers. The overlay creates a grid like relief. In over layering the colors onto the surface its finished overall color pattern begins to develop as a natural progression. In the final process I draw the colors together  with a sharpened bone and finally burnishing with a soft cloth. These beeswax and natural pigment paintings are 16" x 24".