Unpainted 2013

unpainted

gS

Gerry Santora

new works2012

Bio:

Born 1965, Bellerose, NYBUS w/emphasis in painting, 1989, University of New Mexico, Albuquerque1 year/BFA program, 1991, University of Illinois, Chicago

Exhibitions:

ASA Gallery, Albuquerque NM, 1988 Group Show: PaintingASA Gallery, Albuquerque, NM, 1989 Featured Show: PaintingCrown Gallery, Albuquerque, NM, 1990 Solo Show: PaintingPilsen East Art Walk, Chicago, IL 1990 PaintingPilsen East Art Walk, Chicago, IL 1991 Painting: FeaturedUniversity of Virginia, Charlottesville, VA, 1991 Primary show/Lecture: PaintingLorenzo Rodriguez Gallery, Chicago, IL, 1992 Featured ShowOne of A Kind Show; Chicago, IL 2012: Mixed Media PaintingsProjekt30; Online Show; 03/2013: Mixed Media Paintings

Professional:

Soupcan, Inc., Creative Director, 1992-presentSteelskin, Inc., Creative Director, 2006-presentEcourban Collection, Creative Director, 2009-present

Press:

Daily Lobo, Featured Show Review, 1989Chicago Tribune, Pilsen Art Walk Featured Artist, 1991Chicago Tribune, Featured Article, 01/21/2011

Artist Statement:

Somewhere along the way, I ended up in a photography class at the University of New Mexico. I had starteduniversity life as a chemistry student thinking I would one day become a doctor. My closest brush with such a fatewas washing thousands of test tubes while working as an assistant in the immunology labs.

For me, photography was this amazing hybrid process. Part art, part chemistry, it was an appealing solution to mycareer and identity dilemma. It fed my appetite for the mechanical and technical that had dominated my life up tothat point, while introducing me to an entirely new world of art, art history, and criticism.

As I matured as an image maker, my work always resided in an area somewhere between photography and painting.I used photographs to render paintings that were luminous and scarce; isolated figures engulfed in space and light;personal allegories. These were back in the 1980’s when computers and digital images were still years away frombecoming a reality. I worked with slides, projectors, and whatever else I could get my hands on to create images andpaintings. This hybridization of process would become a cornerstone of, not only my image making processes, but mycareer as a creative director for a custom manufacturer that specialized in alternative materials and material combina-tions.

In 1993, I stepped away from image making to become the creative director, and founder of Soupcan , Inc. I’masked on occasion why I gave up making art, but I never felt that I did. I feel that it morphed into yet anotherprocess and opportunity that I was very comfortable with for almost 20 years. It prepared me for my future imagemaking endeavors by introducing me to the computer, CAD, and automated machinery for production purposeswhich I have come to embrace.

My current work still uses photography as a base, or starting point, substituting alternative printing methods such asgelatin transfers, and digital mixed media in lieu of straight painting alone. I very much look at these images aspaintings. To me, a painting is much more about how I approach the image then it is about the raw execution,something that was reinforced for me through a serendipitous visit to MOCA: “Phantom Limb: Approaches ToPainting Today” before I started this new body of work. (http://www.mcachicago.org/exhibitions/past/2012/295)

Allegory still plays a central role in the approach of most of my work. Numbers, statistics, and formulas play aprominent role in the new work either through personal numerological references, or a formula based dialect or cluethat creates counterpoint or irony in many of the images. Layering and blurring of visual components helps to flattenand meld the overall spatial quality, and when paired with the abraded figures, the effect is one of flux, not a momentcaptured in time. Ideally, the effect is a more contemplative one rather than striking an ultimatum or providing astatic solution.

Cause & Effect Series

The Square Root of 2

Digital/Mixed Media Print

65.6 in x 41.5 in. X 3 in. (Framed)

Limited Edition of 10 Prints

Isn’t It Pretty To Think So


48 in x 24 in. X 3 in. (Framed)


¥

6

¥

6

¥

6

¥

Yin Yang




The Guassian Copula


24 in x 42 in. X 3 in. (Framed)


Erstwhile




[email protected]

Memory Series

Memory 1: Phone


14.5 in x19.5 in. X 2 in. (Framed)


Memory 2: School




Memory 1: Streetlight




Memory 4: Winter




Memory 5: Window




Memory 6: Bells




[email protected]

Appropriated History Series

Moving Target

Gelatin Transfer Print

7.5 in x7.5 in. X .75 in. (Mounted)


6 Windows




Dispenser




1

.

4

1

4

2

Square Root Study




Dial




$ 100.00

Scan




$ 100.00

Selected Past Works

Figure 1

Acrylic on Canvas

1991

36 in. X 48 in. X 3 in.

Figure 2

Acrylic on Canvas

1989

24 in. X 36 in. X 2 in.

Figure 3

Acrylic on Canvas

1991

48 in. X 33 in. X 3 in.

Squeeze Me

Acrylic/Chalk on Canvas

1988

36 in. X 44 in. X 3 in.

Worker 4398756

Acrylic on Xerox Prints

1992

43 in. X 48 in. X 3 in.

[email protected]

Unpainted 2013

Documents

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