Here is a series of pieces I did on 12″x12″ wood panels. The images are combinations of prints, collage, and wood veneer–the thin sheets of wood that are used in marquetry. Marquetry is a way of making images by collaging together veneers of different woods to take advantage of the various shades and textures. The pink triangle in Salvo is the most sculptural element. It is 1/4 inch plywood.
I was recently profiled in the Valley News. You can read the article here. I think Nicola Smith did a great job describing my work. I particularly like this paragraph:
It’s a little like reading a book, but in this case you’re reading an ingenious, streamlined arrangement of form, color and materials. The mind supplies lines and depth that aren’t actually there, but look as if they are. This trick of the eye isn’t immediately apparent. You have to examine the prints to see just how unerringly Gross’ shapes dovetail. They have an aura of inevitability, as if Gross had found exactly the right way, the only way, to make them.
Tina Plokarz, a German Art Historian who lives in Philadelphia, wrote an article about my work in Title Magazine, an online publication about Philadelphia arts and culture.
My show of shaped panels and works on paper is up through September 13th at the Aidron Duckworkth Museum in Meriden, NH. This lovely little museum occupies the former studio of the eponymous Aidron Duckworth, a British artist who lived and worked in New Hampshire for the last 25 years of his life.
I will be having an exhibition of works on paper and shaped plywood panels at the Hooloon Gallery in Old City Philadelphia from May 20th through July 19th. The Artist’s Reception is May 30th 6-9. The show is curated by Jen Zarro, an art historian and curator who teaches at the Moore College of Art and Design and Tyler School of Art. Jen is someone I reconnected with at our Friends Select High School reunion in 2008. After talking to her in the bar that night I wondered why I hadn’t been better friends with her when we were teenagers. It was so great to discover all that we had in common. After seeing some images of my work online she asked me if I would be interested in showing in Philadelphia. Of course I was, and even better she offered to curate a show and find a gallery to show the work. Needless to say I was thrilled when she said she found a venue, Hooloon Gallery in Old City Philadelphia. The last time I showed in Philly was my thesis exhibition. At the time I was making delicate transfer drawings of interior spaces on large pastel colored painted panels that leaned against the wall. Those pieces were what launched my abiding interest in depicting a contained experience of space on a two-dimensional surface.
Here is some of the new work that will be in the show:
Here are some shaped panels I’ve been working on this winter. I continue to toggle back and forth between works on paper and works on wood. There are instances where overlaps occur–collaged paper element on rigid wood surfaces, the wood grain from relief prints on paper. But the project is the same for me regardless of the medium: creating the illusion of three dimensions on a two dimensional surface. Ironically as my working process between media becomes more fluid, the panels have become slightly more sculptural. I have begun combining panels and “collaging” painted facets of color onto the plywood surfaces. This is demonstrated with the purple facet from the image above “Mask”. Here is an image of the collection of painted wood shapes that are part of my toolbox for creating panels.
The show that is currently up at TRPS is a collection of work that I have done in the past two years, and then some older unframed work. I had several framed prints from the shows at the deCordova and Gallery NAGA and then I made some new prints. This new work is a little looser than the row of prints on the opposing wall. I was also drawn to use photographic collage elements from an old interior design book. The exhibit (in the Tip Top building in White River Junction, VT) will be up through the month of November.
Working on paper has a strong appeal because it is familiar (at least for now most of us learned to process images from looking at pictures printed on paper), potentially more cost effective than other surfaces, and easier to store than canvases or wood panels. Obviously for printmakers paper is necessary because it can be run through a press. If the plate is rigid–and most etching plates and woodblocks, not to mention litho stones–are, then what it’s printed on needs to be flexible. And paper has done the job for hundreds of years. But what I and many others who work on paper run up against is the cost and hassle of framing. I have experimented in the past with hanging work without frames. Recently I tried adhering prints to wood panels. There was one stipulation I gave myself: the print had to have areas of painting. For some reason it seemed to go against my printmakers code of ethics to stick a straight up print to a wood panel. Since I have been painting into my prints and veering away from editioning, this made sense for me. Here are some of the results. These are all 8 inch square except the last one is a 6 inch square.
A sampling of small square prints.
I had some larger prints that I cut into smaller pieces because I liked parts of them better than the whole. Here they are cut up.
Then I printed some woodblock shapes on top of them. The last step was painting in areas to create and highlight disparities between spaces and layers