top
log-in
Richard Downs
Bigger & Color
posted:
The Conversation #129 | Monotype | 12x15" image area 17x20" sheet size | Oil on Japanese Paper & Spray Enamel | 2014 

Here are some new pieces that I made. It has been suggested by the galleries that I am working with to work bigger and to introduce color into my Monotypes. Nothing wrong with getting a little nudge out of the comfort zone. The biggest challenge has been to find a large paper that matched the quality of the paper that I have been using for 25 years and I am still looking. Funny thing to realize that I haven’t made a paper or size change in 25 years.

Couple #293 | Monotype | 19x23.5” image area 23x28” sheet size | Oil on Japanese Paper | 2014
Couple #292 | Monotype | 19x23.5” image area 23x28” sheet size | Oil on Japanese Paper | 2014
Couple #294 | Monotype | 19x23.5” image area 23x28” sheet size | Oil on Japanese Paper | 2014
The Conversation #133 | Monotype | 12x15" image area 17x20" sheet size | Oil on Japanese Paper & Spray Enamel | 2014 
The Conversation #130 | Monotype | 12x15" image area 17x20" sheet size | Oil on Japanese Paper | 2014
 
All images | Richard Downs © 2014
Wonder Woman
posted:
Wonder Woman | Monotype with spray enamel | 12" x 15" image | 2014

Are you wondering who will be playing Wonder Woman in the upcoming DC cinematic universe release? Here she is! 

 

 

 

 
All images | Richard Downs © 2014
Xotie
posted:
Xotie | Monotype | 12" x 15" | 2014

A year or so ago we had the complete fun of caring for a miniature donkey for a few months. His name was Cisco but I called him Johnny and he was hilarious.  When he saw me he would pump up his bellows and let out a hee-haw that would start with a blast of enthusiasm and then drag on and on and end with a sad groan.  He always got a carrot for his little performance. After Johnny moved to his permanent home over the hill I could still hear him busking for a carrot.

 

I find a lot of artistic joy when I get the opportunity to draw a family pet. My regular drawing style gets tossed out on a pet portrait and my main goal becomes expressing that pet not in facsimile but with as much accuracy as I can muster. 

 

I created this Monotype for one of my clients of her beloved miniature donkey, Xotie. He gets his name from Don Quixote! I was told some stories about Xotie and he sounded like a really nice guy with a hee-haw that could easilly match Johnnies. 

The Bust
posted:
The most incredible and beautiful bust in our worlds history. The bust of Queen Nefertiti, New Kingdom, Dynasty 18, ca. 1340 BC. Limestone, gypsum, crystal and wax. Notice that it doesn’t sit on a plinth.

The human Bust through art history has always been an object that I never really cared for even though all of them were rare artifacts and works of historical importance that I have viewed at a museum or in a art history class or in a book.

 

I think what really bothered me about the historical bust that emerged years after the reinaissance was the artist tradition of making a piece that could be viewed with a little bit of height but to do this they had to place the real art on a plinth and every artist tried their best to incorporate the plinth into the design of their bust. A plinth is an architectural element that it is used in buildings as decoration but at the same time as part of the structure. No matter how nicely designed on a bust it never seemed to relate or connect gracefully to a floating torso IMHO.

The most odd bust in our worlds history. Napoléon II Baby bust. Alexandre Brachard (1775-1843) et Jean-Jacques Oger (1761-1821) d'après Henri-Joseph Rutxiel (1775-1837). Notice that it sits on a plinth.

My personal work has been pushing toward more steel wire sculpture and recently I made a nice connection with Timothy Tew the owner of TEW Galleries in Atlanta. Timothy and I had some conversations about what I do and why I do it and how my work might fit with his other artists and gallery and it was refreshing and new for me to be challenged to explain my point of view with him. Some time had past and then he called to try my work out with 2 wire heads.

 

Over this year I have done many wire heads and my approach is to make them iconic and to build them as a simple and graphic cone of a neck with a simple and graphic male or female head attached. With Timothy’s request I used this opportunity to push the portrait to an area of sculpture that I didn’t really like but within that dislike I thought that it might also push myself to make something contemporary and interesting so I tried out the bust.

 

So I started to google the bust in history and I found out some very cool historical facts. We all know that sculpted heads from classical antiquity are sometimes displayed as busts. Did you know that these busts are often fragments from full-body statues? I had no idea. Many of the busts that survived from classical antiquity were originally created to be inserted into a pre-existing body. These pre-existing bodies were generic blanks and I would imagine that they were made from some natural fiber material that didn't survive time. This has to be the first use of stock art in history.

 

So I made these 2 pieces for Timothy. I am super happy to now be showing my work in his gallery along side his other artists and I am hopeful for my work to connect with Atlanta. Thank you Timothy and Jules!

Pericles (marble, Roman after a Greek original, ca. 430 BC) This piece was originally inserted into a stock body probably made of wood and then dressed up in fancy clothes. Something that we don’t think about when we view these antiquities is that most were hand painted during their time. They are so old that the paint is long gone.
Man #290 | Braided Steel Wire | 17" Wide x 22.5" Tall x 6" Deep | 2014
Man #290 detail | Braided Steel Wire | 17" Wide x 22.5" Tall x 6" Deep | 2014
Woman #291 | Braided Steel Wire | 15.5” Wide x 22 Tall x 5.25” Deep | 2014
Woman #291 detail | Braided Steel Wire | 15.5” Wide x 22 Tall x 5.25” Deep | 2014
Recent Articles
Archive
Links to Articles