Michael Eder 35 Channel

Large Abstract Landscapes

Michael Eder

Open by appointment through May: 617.980.2565

Opening Reception: Thursday March 24th from 5-7pm

FPAC is catching up with Michael Eder about his work on view at 35 Channel Center Street:

FPAC- What inspires you to paint landscape paintings? How did it all begin?

ME- I was always drawn outdoors to paint, from college days at RISD 30 years ago, and still today. I love the chaos and energy of working from an enormous still life, even if it's moving and changing. I carry that energy indoors to my studio and finish my larger work there.

FPAC- Rice Fields, Vietnam and the Desert Paintings at 35 Channel Center Street, are both inspired by black and white photos. Why/how did these photos become a focus in your work?

ME- To my surprise I found a similar energy and wealth of ideas in black and white photos that I get from working outdoors. An added bonus is they bring me places I can't go, and allow me to have greater choices in subjects and moods. It began when I came across photos of deserts in the US and tried and found plenty there to inspire larger oil paintings. I then found the photojournalist book from the 70's "Vietnam, Inc" and was inspired by the landscapes surrounding the victims and perpetrators of the war. I made studies in a series of woodcuts, and moved to larger and larger canvases, to better surround the viewer in the mood of the landscape.

FPAC- As an artist who uses color, how did you choose the colors for your paintings when working from black and white photos?

ME- When I paint outdoors I look more at the way light works than at color relationships. I leave those to chance, which can sometimes fail, or it can create surprises. The black and white photos move me in the same way being outdoors can, looking at the drama of lights and darks.

FPAC- How does your medium (oil paint) become parallel in your vision for the final outcome? I guess I am asking, what is it about oils that contributes to your work, what is unique about them? Are all of your works done in oil?

ME- Oils allow me to layer large areas easily, and work the subtleties with the slow drying wet paint. The surface stays "alive" longer. As lights and darks are so important to the final outcome for me, I find oils give me the greatest scope to work with. All my paintings are oils. I also use monoprints and woodcuts for studies, as they are good for layering, and are a great tool for exploring ideas.

FPAC-Your work appears to have many layers, can you tell us a little about your process?

ME- It's mostly intuitive. I refer back to studies, more recently to photos, and to other paintings to help me along. I respond to people's responses, and might continue on a piece for years. More often it takes several months to finish a painting. The layers are not intentional, but are the result of searching for better answers. Failed paintings are usually ones I cover up with color and hide that process of searching.

FPAC- Do you always work in large format? -( all of Eders' paintigns at 35 Channel Center Street are between 5-8 feet )

ME- A majority of paintings in the last 5 years are large. I do many small oils on wood, 12 inch square or so, as

outdoor studies. I also do prints and smaller watercolors. I like the large size because of the fuller experience it can give the viewer.

FPAC- Who is your favorite artist (s) and why?

ME- I constantly change my preferences. Long ago it was Arthur Dove and Hartley. A room full of Kandinsky at the Fogg stuck with me for years, as did a Florine Stettheimer. I love the fragile carvings and watercolors of Anne Chu. I admire many strong artists, like Gerhard Richter and Baselitz, but I love more tentative work.

FPAC- Whats next on the horizon for you?

ME- I'm working on a series on Gettysburg after a visit there last spring. I'm using Mathew Brady's civil war photos to build woodcut studies and currently three large paintings.

Check out Michael Eder's work at 35 Channel Center Street, Fort Point Boston and learn more about him at http://www.michael-eder.com/

All photos courtesy of Michael Eder, except black and white photo- by Phillip Jones courtesy of Vietnam Ink

Studio View with DannyO

Danny O Studio View Interview: www.dannyostudio.com

FPAC: Tell us a bit about your

process for working and how your space where you work helps this process...

Danny O: My working methods have changed over the years, a long time ago I loved a studio that was cluttered and a floor covered in layers of torn paper. Now I prefer a

clean and organized space. Especially after I have finished a project. Then I like to do a full clean and organize so I can focus on the next project. This doesn't always happen, but my head is clearer when I do. The biggest influence is the area where I live with my family. We moved to the shores of NH and we are constanly surrounded by beautiful landscape, both rural and close to the ocean, so the light is always dramatic and wonderful. But the space itself is really nothing more than an empty living room with great north light. When I have larger work to do, I borrow Eric Legacy's studio barn. Otherwise I work small and use the outdoors as much as possible as my drawing studio during the day and paint from the sketches at night.

FPAC: What is the concept behind your work and how are the works created?

Danny O: This is constantly changing. I don't think about concept too much. At the core I am a

resourceful creator. Using paper instead of paint, came from being too poor to buy any paint. Once after spending $30 on a tube of red paint I spotted a stack of brightly colored magazines waiting for the garbage pick up. The colors were so vivid (and free) that I took them home and went to work. That led to a decade of pursuing collage. In recent years I began to collect half finished thrift store paintings and paint over them. After doing collage and cutting for so many years I have a strong desire to use my hand again, this time returning to drawing and painting in a chunky collage, carefree manner. So I guess the answer is that I follow my heart rather than my head and the compass is pointing toward loose, free intimate drawings and paintings rahter than well defined collages.

FPAC: Your work has a hometown, nostalgic feeling. Can you talk more about this? It reminds me of watching America Pickers! (have you seen the show?)

Danny O: My work does have a folk art fe

el, this may come from my early years as a cartoonist and later as an illustrator. Trying to walk that line between fine and folk art gives my work a feeling that it is more naive perhaps than it actually is. I am thrift store junkie and I think that has worn off on the work. When I was young I did a lot of cartoons for my dad, and later the US Navy. I think it became ingrained in me to make approachable work. This was later cemented when I read a quote by Matisse that talked about making work that was for the eyes not the mind. I feel a natural kinship to that quest.

FPAC: What is the most unique part of the space you work in?

Danny O: Proabably that my nine month old daughter has a play pen in there and often keeps me company.....this is special.

FPAC: Adorable!

FPAC: Neat or Messy artist?

Danny O: MESSY to the core, but no

w that I am married, I have learned that organization creates balance and speeds the whole process of creation. Thank you Jen!

FPAC: Most inspirational artist that you are inspired by and why?

Danny O: Milton Avery, Sally Micheal and March Avery. For over twenty years I have been studying the whole family. The approach to art makes sence to me in a way that I am still in awe and discover deeper levels all the time. The color, design, improvisation and humor are the best in American Painting. I think Milton is an underated American, even though he is thought of as an American master and given praise for influencing so many of his generation and being the catulus for the great works of Rothko and Gotliebb. I think their life is worthy of a stunning movie that would unravel one of the most important creative collaborations of this past century. He and his wife lived together for over thirty years making paintings everyday in their living room. Sally's speed as an illustrator and her ability to capture the essence of a scene was on par with Milton's, and a quick study reveals how much her work had on his. So in the end it is Sally Micheal who I think is the greatest art figure of the past, for without her Milton would have been too stoic and formal. Her influence on him, and her supporting him allowed the work to flow from him freely. If you folow the family you can see that it was Sally who influenced Milton and Milton who influenced Rothko. Sally Micheal has a show up at the Childs Gallery now that illustrates this poit well.

FPAC: Your work embodies a lot of different materials, would you say your space for creating work can get a little overwhelming at time?

Danny O: YES! Sometimes there are too many images triing to get in, too many options with so much material. This has been the source of mental clutter and chatter, niether of which helps the process. Seeing this and feeling the work can sometimes feel over worked is why in recent years I have longed paint again and par down the available choices. Paint still can cost $30 bucks a tube, so I can still get very excited and inspired when I see a chunk of red paper on the cover of a magazine in a waiting room....quietly I tear it out and sneak it into my jacket for later.

FPAC: thanks! Your site looks great! www.dannyostudio.com

all pictures courtesy of DannyO

Whats Going this month?

It seems Fort Point and Fort Point artists are busy with all things art this month, check it out:

March featured artist at Made in Fort Point is Andrew Woodward. Andrew is an animal! Well at least his art is, check out :

What are the 50 State Animals? In 1782, the United States' founders selected the American Bald Eagle as the official symbol for the infant nation. The majestic, soaring bird and its life in the vast frontier inspired the country. About 150 years later, individual states began choosing their own animal symbols for local representation and regional pride. Each state in the union has at least an official bird symbol. Many states have also selected a variety of other species within the animal kingdom as representatives. The animals reflect their local habitats, regional economic strengths and historical significances. In 2008, Andrew Woodward embarked on the painting project, 'Fifty State Animals.' A piece dedicated to Americana, fifty 8 x 8" panels hang in a grid displaying fifty state animal symbols. Woodward begins each painting with an abstract, patterned backgrounds. He then selects the animals that fit best for each composition. "What is Fifty State Animals," at Made in Fort Point, explains the animals' history for the viewers with prints and is highlighted by an installation of the series. Opening Reception is TOMORROW, Thursday, March 10th from 5-7pm Made in Fort Point: 12 Farnsworth: m-f 11-6pm: sat 11-4 pm: Parallel Play: A Kinship New works at FPAC gallery by Kate Baldwin, David Curcio, Edward Monovich, Edie Overturf and Serena Perrone image S. Perrone The term "Parallel Play" relates to the work habits of printmakers in the shared, collective space of the printshop. Opening Reception is Thursday, March 17. 2011 from 5:30-8pm FPAC Gallery: 300 Summer Street: Mentoring image H. Kayser Artists who teach share their understanding of the artistic process. They guide their students through explorations, present problems and coach them to craft their ideas into visual solutions. Sometimes during this process a special interest is taken, a special bond is formed, an a teacher becomes a mentor. Artists: Ivan Fernandez Gonzalez, Heidi Kayser, Lisa Knox,Cat Mazza, Mary McCarthy, Amy MacDonald, Jose Santos, Karen Stein, Christine Vaillancourt, Jennifer Wood and their students. Art at 12: 12 Farnsworth: m-f 11-6pm: sat 11-4 pm: Also: Jose L. Santos: Landscapes: FP3 Gallery: 346 Congress Street You Are Here: Boston Childrens Museum Christina Watk: Undulating Thumbs: 12 Chairs: 319 A Street Elisa Hamilton & aren McFeaters: Interior/Exterior: Fort Point Framers: 300 Summer Robert Siegelman: The Windows at 259: 259 A Street Vexed: The Midway Gallery: 15 Channel Center Street Grand Circle Gallery: Vintage Ski Posters: 347 Congress Martin Donnelly: Front & Bob's Your Uncle: 25 Channel Center Street Jodie Baehre: New Paintings: Lord Hobos: Cambridge Meredith Morton: Hallspace: Dorchester Drawing the Line from Process to Purpose: Robert Siegelman and others:Arsenalarts Chris Faust: Hollister Gallery: Babson College !ND!V!DUALS: Lovesick Cafe: Allston Kevin L. Obrien: Artslant 2011 Showcase Winner and Dis(Connect) AND MORE.... more information here