From my field research trip in Philadelphia two days ago. An incredible experience with three different people suffering from hoarding disorder. Took almost 2000 photographs. Can’t wait to start making paintings based on these images.
Detail of a new piece in progress. #hoarding #painting
More research.
Amazing studio visit with Melissa Maddonni Haims this week in Philly. @mmhaims An artist after my own heart.
Old city Philadelphia. Awesome antique tool collection. #tools
Research photo.
Ed No. 1 installed. Oil on linen 38” x 60”. #artinthehome
Gaya’s home. Visual surprises everywhere.
What an exciting home. Thank you Gaya for letting me into your wonderful world.
Monastery Staircase. #vertigo #garrisoninstitute #meditation #goingdeeper
“The Hidden World of Objects,” curated by Kelcey Edwards, included four richly colored and optically vibrant paintings by Richard Pasquarelli. Partly representational and partly abstract, these sensual images of Pasquarelli unexpectedly come across as peculiar still lifes depicting slices of dense and disorganized spaces inhabited by the absent individual whose existence is largely linked to such objects as electronic devices, books and piles of paper, suggestive of the quintessence of the untidy home, corporate workplace or academic office. Among the paintings executed through oil on mylar and mounted on panels, “Ed No. 8” represents an almost tumbling pile of seven books whose tails and heads traverse the picture plane from the lower right side of the composition upwards toward the left. The apparently falling pile of books is crowned with an unrecognizable form in various shades of blue, artfully pairing similitude and abstraction. Pasquarelli masterfully compresses the pictorial space through a linear and planar syntax of mostly identifiable objects, along with nonrepresentational, dark grounds, although a certain softness of line and fluent layering of paint are also visible. The partial figures of the painting, while conveying the semblance of books, retain a sense of flatness and hence reassert the two-dimensional reality of the picture surface, recalling Andy Warhol’s illusory statement, “… just look at the surface of my paintings… There's nothing behind it.” The tail or head of a given book in Pasquarelli’s slippery space appears as a threshold of perusal and scrutiny, perhaps first and foremost of Heinrich Wölfflin’s words: “While in classic art every resource is at the service of formal clarity, the baroque on principle avoids making the picture look as if it were arranged for contemplation, and could ever be exhausted in contemplation.” The Renaissance linearity and clarity of “Ed No. 8” are surrounded by Baroque darkness, recession and openness, at times asserting and interrupting the picture’s own grammar with such ease. It functions, as suggested by “The Hidden World of Objects,” as an invite to a world of words, to the book, to the épistémè.
One of my new installation paintings. Self Portrait No. 3, 2019, 28” h x 21” w x 3/4” d (overall). 1 Painting: 14 ½” x 12” x 3/4”, oil on linen over panel. Wall: Benjamin Moore House paints: Secret #AF-710, White Diamond #2121-60, #Black Berry 2119-20, silver paint, nails.
One of my new installation paintings shown at spring break art show this past week. 5 oil paintings hung within a defined area painted on the wall. More to come! Thanks @kelcey_edwards for an amazing week @springbreakartshow
Come check out our booth, E 14, at the SPRING / BREAK Art Show. It looks fantastic and we’ve been having a great response. Curator @kelcey_edwards did an amazing job!
Great opening last night. Amazing attendance. #springbreakartshow2019
Hope to see you at SPRING/BREAK Art Show “Fact and Fiction” opening this week! #springbreakartshow2019 @irongateeast @springbreakartshow tickets available at www.springbreakartshow.com
Began installation today at Spring Break Art Show with @kelcey_edwards. Painting the walls and loading in. Interesting space this year. #springbreakartshow2019