Jeffrey Simmons Studio http://www.jeffreysimmonsstudio.com en-us Indexhibit jeffrey_simmons http://www.jeffreysimmonsstudio.com/tag/jeffreysimmons/ 2013-01-07 21:45:25 art http://www.jeffreysimmonsstudio.com/tag/art/ 2013-01-07 21:45:25 exhibition http://www.jeffreysimmonsstudio.com/tag/exhibition/ 2013-01-07 21:45:25 2011-2013: Watercolors

]]> http://www.jeffreysimmonsstudio.com/project/most-recent/2/ 2012-06-12 20:00:36 2000-2005

]]> http://www.jeffreysimmonsstudio.com/paper/2000-2005/ 2012-06-07 00:16:46 2000-2003 The reductive imagery of the watercolors from 2000, and the repetitive working method used to achieve it, inspired a related body of paintings realized in acrylic paint. The more viscous material required some modification to the process. Many of these paintings were made using alternating layers of opaque and transparent acrylic emulsion; the impression of hazy atmosphere or soft transitions of value seen in the simple target images often required the application of thirty layers of paint or more.

Subsequent curiosity about the buried layers of paint led to experiments using sandpaper. Red River and Rim both exhibit qualities that are as much the result of paint excavation as application. Rim was the direct precursor to the series of paintings begun in 2004.

]]> http://www.jeffreysimmonsstudio.com/paintings/2000-2003/ 2012-06-06 21:03:41 1999-2000: Trochoid Seven "Trochoid" paintings dated 1999 were exhibited together at Greg Kucera Gallery, Inc., in April of that year. The earlier rotary paintings were produced on a rotating easel, which facilitated the creation of very fine, even concentric circles. The trochoid paintings were conceived as an attempt to produce a more complicated linear curve on a motorized easel that allowed the canvas to rotate while simultaneously orbiting a fixed point. A trochoid (technically, a hypotrochoid) is the curve produced using a children’s drawing toy called Spirograph.

While the mechanical easel served its purpose, the subsequent addition of surface ornament-- “corrective” blocks of color, dots, and other painterly interventions-- pushed the series beyond its roots in a technical problem and towards free-spirited exploration of pattern and decoration. The two final works in the series, Bloom and Camouflage (both 2000), were so uninhibitedly decorative that a step back was deemed necessary; the first reductive watercolors of that same year were in some ways a counteraction to this work.

]]> http://www.jeffreysimmonsstudio.com/project/trochoids-paintings-1999/ 2012-06-05 23:09:44 1997-1999: Acrylic These paintings were made following the acquisition of an unfamiliar type of fluid acrylic paint. Used in conjunction with transparent acrylic medium, this milky, opaquely-pigmented paint was well-suited to the production of washy, drippy layers, and allowed for the creation of bleed patterns unique to waterborne pigment, as well as fine, meandering, linear brushwork. The colors and patterns were derived, in equal parts, from science fiction/fantasy illustration and custom automotive paint jobs, a debt directly underscored by the addition of airbrushed stars-- a trope common to both cultural antecedents. These paintings were produced contemporaneously with the moiré pattern paintings and the trochoids.

That these three divergent bodies of work were exhibited side-by-side in 1999 at Greg Kucera Gallery, Inc., prompted some viewers to question whether such dissimilar approaches to pattern and abstraction could be regarded as any kind of coherent formal statement. A more apt conclusion might have been to see in the combination of these works a commentary on the problem of the signature image in abstract painting. It is the artist’s desire for each body of work have its own particular integrity and not necessarily derive its value from its relationship to all other bodies or work. This has been a persistent concern since that time.

]]> http://www.jeffreysimmonsstudio.com/project/paintings--acrylics-1998-1999/ 2012-06-05 21:47:24 2006-2010

]]> http://www.jeffreysimmonsstudio.com/project/most-recent/ 2012-06-03 22:21:11 2004-2005 Developed from earlier earlier bodies of work (both acrylic and watercolor), this group of paintings were created using heavily-layered transparent pigments and an additive/subtractive approach to paint application. However, the labor-intensiveness of these works was deliberately deemphasized in deference to the numerous visual associations suggested by the luminous imagery. Computer graphics, LED displays, bioluminescent organisms, and astronomical phenomena were all considered as models during the formation of these paintings.

This work was exhibited in October, 2005 at Greg Kucera Gallery, Inc., Seattle, Washington.

]]> http://www.jeffreysimmonsstudio.com/project/paintings-2004-2005/ 2012-06-03 02:10:08 1998-1999 Moiré Conceived as a pendant to the rotary works, the making of these paintings facilitated further inquiry into the precedent of 1960’s Op art, and also provided an opportunity to explore the possibility of formal variation within a set of strictly limited procedural parameters. A flat, often monochromatic underpainting was screen-printed with a pattern of straight, parallel lines radiating outwards from a central point. This pattern was then overpainted by hand, using a pin striping brush, with a fine set of concentric circles or a single line spiraling outwards from the center of the printed pattern. Although each painting consisted of the same three elements, the resulting moiré pattern varied greatly from work to work.

Exhibited at Elizabeth Leach Gallery in Portland, Oregon; Meyerson & Nowinski Art Associates in Seattle, Washington; and Greg Kucera Gallery, Inc., Seattle, Washington.

]]> http://www.jeffreysimmonsstudio.com/project/paintings--moir233-1998-1999/ 2012-06-02 21:14:03 1996-1998: Rotary These paintings were made on a rotating easel using a variety of painting tools, including automotive pin striping brushes. The serial format allowed for chromatic and textural experimentation within a compositional structure intended to mimic that of the painted portrait. The titles, inspired by the resemblance to religious iconography, were drawn from a calendar of Catholic saints feast days and often indicate the date upon which the painting was finished. These paintings also correlate strongly with 1960's Op painting, a precedent revisited in later bodies of work.

Although it may seem counterintuitive, one of the principal attractions of the "target" image is the frequency of its recurrence in late-20th century art. An image such as this, for which a 21st century artist cannot realistically claim ownership, consequently makes an ideal vehicle for inquiry into, and commentary on, the subject of historical precedent.

These works were exhibited at Linda Cannon Gallery in Seattle, Washington; Meyerson & Nowinski Art Associates in Seattle, Washington; Elizabeth Leach Gallery in Portland, Oregon; and elsewhere.

]]> http://www.jeffreysimmonsstudio.com/project/rotary-paintings-1996-1998/ 2012-06-02 20:08:11 2009-2011 Many of these works were exhibited in early 2011 at Greg Kucera Gallery, Inc.. The pattern works, like Stars Gone Out and Lachrimae, were produced in a fairly direct manner: a guide drawing was worked out using compass and ruler on the surface of the canvas and then overpainted. Other works were based on loose, non-objective underpaintings (Anon., Blessed State), "accidental marks" (paint spatter in Daylight Evaporates, Transmission), or found images (Centrifuge was based on a photograph from a book; Facsimile is a reproduction of a photograph of a painting made two years prior) that were then gridded and “pixelated,” obscuring and defocusing the source.

These dark paintings were shown alongside a contrasting series of very pale, subtly pigmented watercolors. The imagery was purposefully divergent and suggestive of dislocation; not coincidentally, the work was produced in a succession of temporary painting studios over the course of two years.

]]> http://www.jeffreysimmonsstudio.com/project/paintings-2009-2011/ 2012-06-02 19:23:03 2008: Nebulæ Continuing to build on the previous body of “light” themed work, this group of paintings took explicit inspiration from astronomical imagery like that produced by the Hubble Space Telescope. The gridded paintings were directly derived from comparative illustrations common to many astronomical textbooks, while the more random-seeming arrangements of circular patterns were intended to be evocative of wide astronomical surveys such as the well-known Hubble Deep Field. That the stylized galaxies and nebulae could equally stand for microscopic organisms was one of the particular attractions of this material.

Exhibited at Greg Kucera Gallery, Inc., in April, 2008.

]]> http://www.jeffreysimmonsstudio.com/project/nebulae--paintings-2008/ 2012-06-02 19:22:57 2011 G.K. show http://www.jeffreysimmonsstudio.com/tag/2011gkshow/ 2012-06-02 17:58:34 jeffreysimmons.tumblr.com http://www.jeffreysimmonsstudio.com/information/jeffreysimmonstumblrcom/ 2012-06-02 03:00:36 Bibliography 2013 Upchurch, Michael. "Jeffrey Simmons' fastidious geometries in watercolor." The Seattle Times, January 16, 2013.
2013 Langner, Erin. "Slanted and Enchanted: The Wonders of Jeffrey Simmons's Watercolors." New American Paintings Blog, January 15, 2013.

2012 Graves, Jen. "What's Coming in 2013." SLOG (The Stranger weblog), December 13, 2012.

2010 Hackett, Regina. "The Northwest School - always in session." Another Bouncing Ball, January 21, 2010.

2008 Beal, Suzanne. “Artist Profile: Jeffrey Simmons.” Art Ltd., November/December, 2008, p. 60.
2008 Hackett, Regina. “Two artists expand the experiences of abstraction at Greg Kucera.” Seattle Post-Intelligencer, April 17, 2008.
2008 Graves, Jen. “Event Horizons.” The Stranger, April 15, 2008.
2008 Graves, Jen. “Art is Art and Life is Life.” SLOG (The Stranger weblog), January 9, 2008.

2005 Mudede, Charles. "On Exhibit" The Stranger, October 20, 2005.
2005 Faigin, Gary. “Jeffrey Simmons at Greg Kucera.” The Beat, KUOW radio, Seattle. October 20, 2005. A transcript of this review is archived at www.garyfaigin.com.
2005 Hackett, Regina. “Images by Simmons and Biel are eerie and unsettling.” Seattle Post-Intelligencer, October 14, 2005, p. 35.
2005 Goetze, Janet. Portland Oregonian, January 6, 2005.

2004 Green, Roger. Review of Paintings that Seem to Paint Themselves…. Ann Arbor News, October 22, 2004.

2003 Hackett, Regina. Seattle Post-Intelligencer, September 5, 2003, magazine section, p. 16.
2003 Hall, Emily. “Dot Dot Dot.” The Stranger, February 20, 2003, p. 30.
2003 Hackett, Regina. “A new breed of artists is staking out personal space.” Seattle Post-Intelligencer, February 14, 2003.

2002 Brown, Elizabeth and Corrin, Lisa. “The Mountain is Out.” Modern Painters, Autumn 2002, p. 47.
2002 Josslin, Victoria. “About Vs. Is.” www.artdish.com, November 2002.

2001 Boas, Pat. Artweek, March 2001, p. 21.
2001 Row, D.K. Portland Oregonian, January 21, 2001, p. F2.

2000 Josslin, Victoria. Seattle Post-Intelligencer, October 23, 2000, p. D5.
2000 Hackett, Regina. Seattle Post-Intelligencer, July 11, 2000.

1999 Im, Soyon. Seattle Weekly, September 9, 1999, p. 47.
1999 Fredericksen, Eric. The Stranger, January 21, 1999.
1999 Kangas, Matthew. Seattle Times, January 15, 1999.
1999 Hackett, Regina. Seattle Post-Intelligencer, January 15, 1999.

1998 Kangas, Matthew. “Jeffrey Simmons at Linda Cannon Gallery.” Art in America, October, 1998, p. 143.
1998 Demetre, Jim. “Too much tried and true makes gallery goer despair.” Seattle Weekly, April 23, 1998, p. 29.
1998 Fredericksen, Eric. The Stranger, April 2, 1998, p. 25.

1997 “Works on Paper Originally in Black & White.” Zyzzyva, Fall 1997, p. 88.
1997 Lindberg, Ted. Preview of the Visual Arts, February/March 1997, p. 45.
1997 Updike, Robin. "Splashing Color Like A Spice-- Two Artists Help Enliven The Winter." Seattle Times, February 6, 1997, p. G20.

1996 Kangas, Matthew. "From Awfully Good To Just Awful, Northwest Annual Covers It All." Seattle Times, April 11, 1996, p. D20.

]]> http://www.jeffreysimmonsstudio.com/information/bibliography/ 2012-06-02 03:00:28 Resume Download full resume.

1968 Born in Cincinnati, Ohio.
Lives and works in Seattle, Washington.

SOLO EXHIBITIONS

2013 Watercolors, Greg Kucera Gallery, Inc., Seattle, Washington.
2011 Paintings, Works on Paper, and Etchings, Greg Kucera Gallery, Inc., Seattle, Washington.
2010 Apparent Horizons. Baer Ridgway Exhibitions, San Francisco, California.
2008 Nebulæ. Greg Kucera Gallery, Inc., Seattle, Washington.
2005 Paintings. Greg Kucera Gallery, Inc., Seattle, Washington.
2003 New Paintings. Greg Kucera Gallery, Inc., Seattle, Washington.
2001 Color and Complexity. Whatcom County Museum of Art, Bellingham, Washington. Curated by Scott Wallin.
2000 Works on Paper. Greg Kucera Gallery, Inc., Seattle, Washington.
2000 4-malism. Artist in Residency Installation, Bellevue Art Museum, Bellevue, Washington.
1999 Trochoids, Moirés, and Science Fiction Paintings. Greg Kucera Gallery, Inc., Seattle, Washington.
1998 Linda Cannon Gallery, Seattle, Washington. Also 1997, 1995.

GROUP EXHIBITIONS

2011 New Prints 2011. IPCNY Gallery, New York, New York. Curated by Trenton Doyle Hancock.
2010 Paper!Awesome! Baer Ridgway Exhibitions, San Francisco, California. Curated by Brion Nuda Rosch.
2010 Full Circle. Boise Art Museum, Boise, Idaho.
2010 Made in America. Greg Kucera Gallery, Inc., Seattle, Washington.
2009 A Concise History of Northwest Art. Tacoma Art Museum, Tacoma, Washington. Curated by Rock Hushka.
2009 On, Of or About: 50 Paper Works. Texas State University, San Marcos. Curated by Timothy Woolsey and Mary Mikel Stump.
2008 Century 21: Dealers Choice. Wright Exhibition Space, Seattle, Washington.
2008 Fresh Impressionism: Art Now Inspired by Art Past. Seattle Art Museum, Seattle, Washington. Curated by Pamela McClusky.
2008 25th Anniversary Exhibition. Greg Kucera Gallery, Inc., Seattle, Washington.
2007 Sparkle Then Fade. Tacoma Art Museum, Tacoma, Washington. Curated by Rock Hushka.
2007 Unexpected Watercolors II. Hedreen Gallery, Seattle University. Curated by Carrie E.A. Scott.
2006 Telling Stories. Tacoma Art Museum, Tacoma, Washington.
2005 Unexpected Watercolors. The Art Gym, Marylhurst University, Marylhurst, Oregon. Co-curated by Trude Parkinson and Terri Hopkins.
2004 Paintings That Paint Themselves, or so it seems. Kresge Art Museum, Michigan State University, East Lansing, Michigan. Curated by April Kingsley.
2004 Building Tradition. Tacoma Art Museum, Tacoma, Washington.
2004 Paperwork. Savage Art Resources, Portland, Oregon.
2003 International Abstraction: Making Painting Real. Seattle Art Museum, Seattle, Washington. Co-curated by Marek Wieczorek, Lisa Corrin, and Tara Young.
2001 Exponential: Four Huge Paintings. The Art Gym, Marylhurst University, Marylhurst, Oregon. Curated by Terri Hopkins.
2001 Gallery Artists. Greg Kucera Gallery, Inc., Seattle, Washington.
2000 Ditto. James Harris Gallery Project Space, Seattle, Washington.
2000 Painting 2000 Bumbershoot Arts Festival, Seattle, Washington. Curated by Matthew Kangas.
1999 Hands-On Color. Bellevue Art Museum, Bellevue, Washington. Curated by Brian Wallace.
1999 Group Exhibition. Rudolph Poissant Gallery, Houston, Texas.
1999 It’s the New Year Show! Meyerson & Nowinski Art Associates, Seattle, Washington.
1999 In Sync. Elizabeth Leach Gallery, Portland, Oregon.
1998 Recent Acquisitions from the Northwest. Tacoma Art Museum, Tacoma, Washington.
1998 Betty Bowen Award 20th Anniversary Exhibition. Washington State Convention and Trade Center, Seattle, Washington.
1998 Works on Paper. Elizabeth Leach Gallery, Portland, Oregon.
1998 Pattern. Elizabeth Leach Gallery, Portland, Oregon.
1998 Group Exhibition. Bumbershoot Arts Festival, Seattle, Washington. Curated by Ginny Ruffner.
1997 Seattle/Portland Black/White. Seattle Art Museum Rental/Sales Gallery, Seattle, Washington.
1996 Northwest Annual. Center on Contemporary Art, Seattle, Washington.
1996 PONCHO Auction Invitational Exhibition. Seafirst Gallery, Seattle, Washington.

HONORS AND AWARDS

2005 Nominee, Behnke Foundation Neddy award.
2003 COLOR: Oil and Acrylic Paintings Purchase, Office of Arts and Cultural Affairs, Seattle, Washington.
2002 Artist Trust G.A.P. Grant.
1996 Betty Bowen Committee Special Recognition Award, Seattle Art Museum, Seattle, Washington.

COLLECTIONS

ADC Telecom, Minneapolis, MN.
Boise Art Museum, Boise, Idaho.
City of Seattle, Portable Works Collection.
Compel Marketing, Seattle, WA.
The Gates Foundation, Seattle, WA.
Henry Art Gallery, University of Washington, Seattle, WA.
King County Courthouse, Kent, WA.
Nordstrom—Chicago; Tampa; Columbus, OH; Santa Clara, CA.
The Polyclinic, Seattle, WA.
SBS Associate, Seattle, WA.
Seattle Art Museum, Seattle, WA.
Sechcrist Design Assoc, Inc.
Sprint/Nextel
Tacoma Art Museum, Tacoma, WA.
University of Washington Campus Art Collection, Seattle, WA.

EDUCATION

1991 Bachelor of Fine Arts in Painting and Drawing, School of Art, University of Michigan, Ann Arbor. Magna Cum Laude, James B. Angell Scholar.

TEACHING

2005-2007 Introductory and Intermediate Drawing, North Seattle Community College Continuing Education Program, Seattle, Washington.
2004 Studio Class: Acrylic Abstract Painting. Tacoma Art Museum, Tacoma, Washington.
2002-2003 Painting classes, Bellevue Art Museum, Bellevue, Washington.
2000-2003 Drawing instruction, Interior Design Department, Bellevue Community College, Bellevue, Washington.

VOLUNTEER

1999-2007 Executive Committee member, Contemporary Art Council of the Seattle Art Museum (holding various officer positions; president of council from 2002-2003).

]]> http://www.jeffreysimmonsstudio.com/information/resume/ 2012-06-02 03:00:21