Representational art often exists along a spectrum. On one side rests the loose and abstract and on the other, artwork of meticulous precision. Both styles, and everything in between, can elicit greatness. The “abstract” painter might be able to distill a grove of trees down to a dozen brushstrokes, a masterful feat, and at the same time, a “tight” painter might strive to capture every last detail in the bark of a tree—every vein on every leaf.
Stanley Rayfield, King of the Sea, oil on aluminum panel, 36 x 48 x 5½"
In a new exhibition at Gallery 1261, this concept of “tightness” is celebrated and explored through the artwork of Joseph Todorovitch, Helen Crispino, Tony Curanaj, Rodney O’Dell Davis, Natalie Featherston, Scott Fraser and many more.
“Generally speaking, I wanted the roster for this showcase to be a diverse sampling of artists that gravitate toward the ‘tight’ end of the representational spectrum," says Anthony Waichulis, artist and exhibition curator. "From the start, though, I was clear that I didn’t want to limit the focus to colloquial photorealists or hyperrealists, both of which are often seen as canonical examples of tight work. Rather, I wanted the focus to celebrate a larger group whose efforts can be seen as relatively ‘higher-definition’ within their own stylistic contexts. And I believe we have assembled the artists that will do just that.”
Julie Beck, I Am Earth and My Orbit is Clumsy, oil on ACM canvas panel, 19 x 19"
Eat Yer Greens by Gregory Block is the latest in a series of paintings “inspired by the sensory sugar-high that comes in a box of donuts—the smell, the anticipation, that burst of color, texture, shape and composition.” Indeed, the oil captures a range of visuals, from pink frosted donuts flecked with sprinkles and smooth chocolate frosted donuts, to the craggy surfaces of old-fashioneds and the spiraling pattern of a cruller. “In all my painting, I strive to create something that is both visually and emotionally compelling, and a simple box of donuts never fails to provide the ingredients for both,” Block continues. “The title, Eat Yer Greens, of course references the fact that we all know we’re supposed to choose kale or spinach over a deep-fried ring of dough. But how often do you see a green donut, and what great joy could it bring to savor and explore such a rarity? If we are what we eat, why not be joyful?”
Gregory Block, Eat Yer Greens, oil on board, 48 x 64"
Block adds that the concept of “tight” as the exhibition title feels like embracing a word that has often been used in the art world as a way of dismissing highly realistic artwork as devoid of emotion or overdone. “It implies the artist is ‘trying too hard,’ and by implication, isn’t truly skilled. But we refer to a perfectly synced musical performance as being ‘tight,’ and how is a painting any different?” Block says. “In my opinion, a ‘tight’ painting is one in which all the visual elements work together in concert, with nothing superfluous and nothing off-key. Plus, tight just means ‘cool, bro!’ [and] this show will certainly be that.”
Natalie Featherston, The Transparent Heart, oil on panel, 21 x 16"
Many of Julie Beck’s paintings are smaller in size, often measuring around 20 inches or less, with intimate compositions that place a menagerie of objects in cozy relation to one another. Certainly, her work could be described as tight; it’s also poised and whimsical at the same time. “I try to create an immersive experience that mimics reality from a standard distance, but up close the viewer sees evidence of how the colors and paint application have been used as language and as a tool,” she says. “My intention is not necessarily to hide the paint. The level of rendering is an invitation to get closer, see how it was made and perhaps find some Easter eggs or unexpected surprises while you’re there. There are multiple levels of experiencing a painting, and I leave a trail of breadcrumbs to both the conceptual and technical narrative.”
Scott Fraser, Sticks from Thompson Park, oil on board, 13 x 20"
Her piece in the show, I Am Earth and My Orbit is Clumsy, is an example of contrasting elements—the painterly effects of the background (a restless ocean teeming with sharks) against the highly rendered foreground objects, exaggerated chroma and value, as well as trompe l’oeil elements. The ocean as subject matter continues in Stanley Rayfield’s oil on aluminum King of the Sea. “King of the Sea portrays my father-in-law amidst a fishing expedition at Virginia Beach. Despite his age and intermittent struggle with arthritis, the act of fishing grants him respite from discomfort, rendering him serene and undisturbed,” says Rayfield. “Fishing serves as his sanctuary, offering solace and tranquility in life’s journey. Each one of us possesses activities or passions that ignite our spirits, breathing life into our existence.”
For Rayfield, this “tight” style of painting is a valuable tool in his kit. “It consistently stands out in my body of work and holds a special place in my heart. I firmly believe that without employing this style, I would not be able to effectively showcase the beauty of the boat or capture the complexity inherent in this serene and peaceful scene,” he says. “By employing a ‘tight’ approach, I can accurately depict every detail with precision and accuracy. This level of meticulousness allows viewers to focus on and appreciate the strength and posture of the gentleman positioned at the center of the composition.”
Tight will be on view at Gallery 1261 from October 21 to November 4, with an opening reception the first day. —
Gallery 1261 1261 Delaware Street, Suite 1 Denver, CO 80204 • (303) 571-1261 • www.gallery1261.com
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