The Orange Paintings
10/1 - 10/30/2010 - The NK Gallery, Boston
On September 8, 2001 I exhibited the first of the orange paintings at the Hall Space Gallery in Boston, Massachusetts. It was the weekend before... After that Tuesday I couldn’t continue working in that direction. While there were other projects completed, many building on my interest in genetics and evolution the orange paintings lay dormant, unrealized. Now a decade later I have returned to them. Inevitably shaped by the events of the past ten years these paintings embrace my desire to continue working. I ask that as you view these paintings you contemplate what you have lived through in the past ten years and meditate on how that time has shaped all of us.
Evolution, Genetics and Abstract Painting
Evolution explains the creation of new species as emerging from the physical structures available in earlier living forms. Thus evolved the legs and feet of amphibians from the fins of fish. Creation is not spontaneous generation but a cobbling together of genetic material found in the available building blocks in nature at the time. The templates I use are like genetic pieces. They become the compositional tools that allow me to find an aesthetic expression where change is inevitable and where order can coexist with continuous change. From approximately a dozen template shapes I discover new templates by combining parts of old ones and use these hybrids to make new compositions. The paintings and drawings here are part of the orange series begun in 2001 using a bright almost acid orange color reminiscent of the dyes used to stain specimen slides in biology. Brightly colored, these specimens float within a background pattern derived from the same template from which they are created. Flirting with the notion of creation these paintings present ornate decorative worlds from the simple origins of one repeated shape.
01/22 - 03/7/2010 - The Mills Gallery, Boston
The Mills Gallery at Boston Center for the Arts is pleased to present AMALGAM and Different Kind of Monster, two exhibitions featuring artists from the BCA Studio Building, guest curated by editor, art writer and curator Evan J. Garza. This project is the first in a new annual series of guest curated exhibitions of BCA Studio artists. The exhibitions will be on view from January 22 to March 7, 2010 at the BCA’s Mills Gallery. The opening reception, free and open to the public, will be Friday, January 22 from 6 to 8 pm.
Featured artists include: Leika Akiyama, David Lloyd Brown, Ken Clark, Aileen Erickson, Lazaro Montano, David Reichert, Robert Rovenolt, and Sophie Truong. The BCA Artist Studio Building is a diverse collection of artists working with an equally varied multitude of influences, subject matter, and medium. Therefore the work on view in ?M?LG?M is made from several pieces, fragments, sources, and found objects to reflect the construction of a single thing from many parts. The emphasis on studio practice and its effect on resulting work is reflected in the presentation of ephemera from the studios of selected artists, installed throughout the gallery alongside original works. These items offer clues as to how—or where—these works emerged. Additionally, several exciting and unforeseen connections between artists are explored throughout the space.
Artist David Lloyd Brown presents his Triplet Series, a collection of works specifically made for this exhibition, whose drawn circular images are inspired by genetics and bred from a vocabulary of cut paper stencils, also displayed here.
The suggested movement in these incredible works on paper—and their relationship with genes—is reinforced by the kinetic sculptures of Ken Clark, whose rotating helix compositions spin in complete silence when moved by the viewer. Also on view by Clark will be Three shades of a carpenter, a brilliant two-sided mercury vapor neon.
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GENETICS - Geest Gallery, Ayscoughfee Hall Museum November 4 - December 18,2009 England
Originally designed for the specific geographic location of Boston, Lincolnshire, this exhibition is the first of two collections of drawings linking the two Bostons (Boston Lincolnshire and the newer Boston, Massachusetts), as a metaphor to celebrate the endless change and birth of the world around us.
These drawings embrace two of the most pervasive efforts humanity has made to explain the world around us- the twin worlds of science with its logic, reason and evolution and the seemingly disparate but equally encompassing system of belief and faith demonstrated in the world's religions.
Using templates and ordering systems each drawing evolves from the physical structures in the drawing preceding it taking the viewer on a complex journey through pattern, shape and decoration.The templates used are like genetic pieces. They become compositional tools to make an aesthetic expression where change is inevitable and where order can coexist with change. These changes accumulate over time ensuring a future mirroring the example of change that we see in the real world. >>Read more (location, etc.)
David Lloyd Brown's "Multiples" featured by The Boston Center of the Arts. For more information visit: Boston Center of the Arts
Collaborative Vision: The Poetic Dialogue Project
Saturday, Jan. 31-Sunday, Apr. 5
Chicago Cultural Center
Yates Gallery (78 E Washington St) Chicago, IL
Collaborative Vision: The Poetic Dialogue Project; is an exhibition of 31 works of art created by collaborative teams of visual artists and poets from across the United States. This exhibition, featuring works in all media, including paintings, photographs, sculptures, artist-made books, and various mixed media art installations, was curated by Chicago area visual artist Beth Shadur. Shadur originated the concept after undertaking collaborative work with ASU English alumna Lois Roma-Deeley (MFA 1988) when the two were resident artists at the Ragdale Foundation. In this exhibition, Shadur paired visual artists with poets based on the resonance of their work; each pair was asked to collaborate on the creation of a new work integrating text and visual images. Also features work by ASU English Professors Cynthia Hogue and Beckian Fritz Goldberg.
Genetics - Boston (United Kingdom) Dec.07-Feb.08
One theory of evolution explains the creation of new species as evolving from the physical structures available in earlier living forms. Thus evolved the legs and feet of amphibians from the fins of fish. Creation is not spontaneous generation but a cobbling together of genetic material found in the available building blocks in nature at the time.
The templates I use are like these genetic pieces. They become the compositional tools that allow me to find an aesthetic expression where change is inevitable and where order can coexist with continuous change. As I use the templates to draw they are themselves changed by the process.
From a stock of approximately a dozen template shapes that I created from a wide variety of visual and cultural sources (including my earlier paintings), I discovered new template shapes by combining parts of old ones and used these hybrids to make new compositions.
In 1996 I began the series of works you see here using just one template. This series is an offshoot of the larger body of art work, focused on how an elegance can emerge by layering multiple ordering systems-how one reads the flat surface- and how these layers can interact in dialogue with one another.
My affinity to the scientific method has led me to title the works using a cataloguing system. For example REF#2006/01 is the first work made in the year 2006.
The ideal of the template and the structure it defines is present in the hand- crafted drawing that shows significant change due to the process of creating the work. These changes accumulate over time ensuring a future filled with the example of change we see in the real world.
Genesis - Genetics
Hull University, England | Feb. 27-March 27, 2009
"Installation view of Charles Darwin REF#2007/07"
An exhibition of drawings
in the Chapel of Hull University
Cottingham Road, Hull UK
February 27- March 27, 2009
Genesis-Genetics, is the second exhibition of the seven multi-paneled drawings originally shown and designed for Boston, LIncolnshire.
This inaugural show for the new exhibition space in the Chapel of Hull University provided a juxtaposition of the drawings meditating on science and reason with the sacred space of the Chapel encompassing belief and faith.
David Lloyd Brown will donate 50% of the sale proceeds from this exhibition to the St. Botolph's Parish Church Restoration Appeal. For more information, contact Peter Coleman, Appeal Manager, at The Parish Office, 1 Wormgate, Boston, Lincolnshire PE21 6NP, e-mail him at firstname.lastname@example.org, or visit www.parish-of-boston.org.uk/restoration.htm.
American visitors to David Lloyd Brown's exhibit who wish to make a tax-deductible gift to the St. Botolph's restoration should contact Catherine Clark, President & CEO, American Friends of the Boston Stump, Inc., 4343 Washington Street, #1 Boston, MA 02131, USA or e-mail email@example.com. Donors of $1,000 or more are eligible for a range of benefits which can even include having your image carved permanently into the church itself!
The American Friends organization was founded in 2007 to provide capital funds and educational programming for St. Botolph's (affectionately known as "The Stump") in recognition of the church's historic connection with the Massachusetts Bay Colony and the arrival of the Puritans and Pilgrims in the New World. A member of St. Botoph's church administration is a permanent member of the American Friends board of directors.