Biography suggests that one speak about one's life. That's how it works. In the field of art. We use statement, biography, resume or CV. The differences are distinct and important. I have offered a more understandable and accessible version of your "about" statement even if you have titled it "biography". And while I translate this statement-biography to poke fun at artist statements in general, I wonder if Monzon or his gallery actually means to say what he/it has said? In other words, is the statement, like the paintings, also a kind of joke, and if so, why?
By collapsing of architecture, space, and art history, Lester Monzon's work dissects the notion of context. Colorful gesticulations conceal sections of rigid patterning, a tete-a-tete between abstract expressionism and hard-edge abstraction that implies a gentle lampooning of the taxonomic tradition. Monzon upends the formalism and segregation innate to the fine art world, and fabricates a composite genealogy of painting - a pithy resolution to an otherwise vapid debate. Monzon's luscious brushstrokes slyly creep into a Hirst-esque field of dots or Noland-like plane of stripes, like the resurrection of a once-declared dead practice through a satirical hand. In his recent work, Monzon applies this critique of contextual art to mark-making in public spaces; be it graffiti on tiles in a public bathroom, stains on the sidewalk, or the popularized notion of "street art.
Lester Monzon makes pictures that refer to architecture, how architecture sits in space and art history. Sometimes he paints in a messy way and sometimes he paints very precisely. In Monzon’s world, both of these actions refer to traditions of abstract expression and hard-edge abstraction. With this, Monzon offers an artist’s inside joke: my paintings, in capsule, offer a system of classification for art history. He doesn’t want you to worry about what issues* arise in the art world because you can accept his quick and concise summation of art history in place of others’ uninteresting and bland solutions**.
(Skipping ahead to technique without transition) Monzon uses a lot of paint. If this paint were a person, he is a sly personality that can impersonate dots or stripes (that Monzon associates with the artist Hirst (dots) and the artist Noland (stripes)). By impersonating dots and stripes, Monzon (or this sly person who is paint) miraculously brings dots and stripes back to life because they had been dead*. You should realize that this is satire.
These days, Monzon is taking his version of funny to the streets - literally. He is painting on dirty sidewalks, on the tile in public restrooms or in some place that is called “street art” that has been made popular.
** Monzon graciously removes the viewer from a “vapid” solution to a “pithy” one
In summary, I think Mr. Monzon might engage someone to write more precisely about how and why his painting and his work merits discussion and appreciation. This statement does no service to him, his work or to the viewer. The work can be satirical and difficult to understand. The statement should not. It should additionally be an explanation and give, if not a roadmap, at least a cardinal direction toward better knowing the work and the artist.
For the next two weeks, this community center within the Paseo Arts district will be my workplace. My visit completes the first exchange between Savannah and Oklahoma City artists.
Starting tomorrow, SixTwelve of Oklahoma City hosts me as an instructor, artist-in-residence and consultant on programming and facilities and operations development for their artist residency program.
The community center offers camps focussing on creativity and sustainability. The center's residency exchange program brings one artist from Oklahoma City to Savannah and one from Savannah to Oklahoma. I'm thrilled and honored to participate.
During the first "Art Walk" week, I will instruct in color theory, formalism and creating works using repurposed fibers-based materials. Campers exhibit their pieces Friday, June 5th.
The second week, "Garden Camp", community members of any age are invited to workshop with me while I create fibers works featuring Oklahoma flora to be displayed at the end of camp week vernissage on June 12.
During these sessions, I will discuss contemporary arts and arts business issues, developing course content and anything else that the group wishes to discuss. If anyone wishes to studio assist/intern this week, please contact me using this site. If you wish to join as a "student", there are two or three sessions each day: 9-12, 1-3 and 4-6 (except for Friday, June 12). Please contact me or SixTwelve if you have questions.
Some May flowers in celebration of May Day outside of 1704 Lincoln.
Testing a new paint by Montana for an upcoming public event. It sprays on very evenly and the texture is great. More later on how temporary - super important - it is. In the meantime, I appreciate Montana's site tips for usage. Not everyone knows how to wield the spray can!
Given the opportunity to marry (finally, girl!) Flannery O'Connor with more books, peacocks, an oversize mail-box, I skipped to the studio to begin transforming this little free library for the Flannery O'Connor Book Trail. The blessing and unveiling of this itty community center takes place at the Flannery O'Connor Childhood Home at 11 a.m. on February 26, 2015. See you at the ceremony. I'll be seated on the bride's side - naturally.