Ken Boe at Jim Coates Gallery

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Click for a closer look:
Chalk Turquoise Righteousness with glitter and mono print 4′x4′
Check out my poem in Voices On The Wind: A Funnel Of Gnats Iron and Clay With Glitter and Action Monoprint 4′x4′
Check out my poem in Voices On The Wind: Sound Check Encaustic fresco with glow in the dark hemp rope 2.5′x2′
Check out my poem from Voices On The Wind: Breaking Up From Below Collaboration on canvas with Xymyl Naught

Currently at the Jim Coates Gallery, the experimental paintings of Ken Boe.
“Holding the Line” will be up until the end of June …..11 to 4 Friday thru Sunday; 418 W Sullivan St; Miami AZ 85539

www.jimcoatesgallery.com

Includes two paintings, including this one “Quantum Spring”, a collaboration with
Xymyl using his underpainting done over with my whip technique (action print-making.)

For more information on The Jim Coates Gallery, call 928-200-2743


Go to http://www.voicesonthewind.net to see the poems from the May 3rd Full Moon Poetry event “Voices In The Garden” held at the Sierra Vista Community Gardens, organized and hosted by Ken Boe, and VOW’s Leslie Clark.

Photo credit Nathan J. Williams
Check out my poem from Voices On The Wind: A Poet’s Death
Video report courtesy Chuck Alton, CochiseTV; Voice by Ken Boe.


Photo above: Detail from “Blood Of St. Peter” Encaustic whip painting, by Kenneth Boe.
Portrait above: Portrait of Kenneth Boe by Zoya Green.

Looking to see my art in Bisbee? Go to Magnetic Threads right downtown at the Plaza, or get yourself straightened out at Bisbee Chiropractic and Natural Health Center where my famous Totemizer collage painting resides.


ENCAUSTIC-FRESCO-MONOPRINT SERIES
Experimental Projects by Ken Boe

The encaustic-fresco-monoprints are the next stage of evolution in my works concerning the uses of wax, tree resins, pigments, the use of experimental plasters and gesso’s, and the use of found objects. In this series the found objects are used as printing devices rather than being an attached and permanent part of the artwork. WHat is the same is that the found objects used, which are usually container schemas such as old beer cans, have been exposed to great amounts of entropy and stress, such as rusting, shot at, or otherwise broken from their original functional use and meaning. In this case, they have been run over and flattened.

The framework of container schema may or may not be readily apparent, thus allowing more ambiguity and imagination in the viewer’s mind. But since the container schema is one of the most universal of frames though which we conceptualize and make primary metaphors in our sense of body, organization, society, world, etc. I am able to have much fun in how I manipulate the schema into other possible symbolic cascades of interpretation. The conscious pleasure of this is one thing, and the unconscious use of imagery though our parallel vision and cognition even more important, by just having the artwork around as we do other things.

I am accepting open-ended commissions for me to continue in this project successfully. The works may vary quite a bit, as this Variable 9 is fairly conservative or minimalist. Pigment is transferred frome the object to the wet plasters much as watercolor is transferred to paper. Like watercolors, the event gives you both a one of a kind artwork, as well as room to do many thing which semi-representationally manipulate the container schema construct in exciting or sublime ways. In this work the plaster’s texture, and the later use of pigment in the wax painting over the fresco prints are as much at work as the fresco prints themselves are.

Over the years I have accrued a great number of self-taught and invented techniques which i have experimented with continuously. From painting with whips (action print-making) to manipulating scribbles, using assemblage and collage, and the application of philosophical research to content development, and more, all can play a factor in any particular artwork, including from this series as it unfolds. I do love to collaborate with a commission, however, since this stress is no greater than the worry that might go into any new aspect of a work I find myself engaging in, which I always do with each work. Indeed, there is this scarcity of repetition to each of my works for this reason, even which doing sets of works simultaneously or concurrently.

Other works and commissions will be available. The whip painting technique is what you might call action print making, and applicable to the encaustic-fresco mono-print series. My piano paper series will include sketches from Yellowstone, beneath layers of wax and pigment. My crayon project, recycling crayons from the restaurants of Yellowstone Park, is an open ended project. Works would generally be encaustic in approach, though this could be sculptural, or other multi-media, and collaboration is an option. Found object pieces will continue in limited edition.

This summer I am primarily focussed on writing/compiling a book of poems titled Closing Night; a chapbook of my long infamous poem Tatterdemalion Day Dream; an outline for an eventual book of theory, Alien Aesthetics (research inquiries welcome); and sketches of abstract tree and root forms in Yellowstone for my piano paper series of encaustic collage:

Went, piano paper, photograph/photogram, and encaustic on panel

from the piano paper series

2 person show in Miami Arizona, March 14th-April 27th, 2014: OUT OF LINE
http://www.jimcoatesgallery.com/

Double-click images for extraordinary detail.

–Keep scrolling down, keep your nose to the grindstone:

Any ideas for the 2015 Miami Loco Art Walk? Let’s hear em. This open-ended event is really an opportunity for almost anything. kenboe@gmail.com

Shipmented, by Ken Boe
To help support my experimental arts research, please use the Paypal button below. My work includes experimental fresco and gesso grosso(plasters), oils, many types of wax and tree resin work, including recycling all the crayons used in restaurants by children in Yellowstone National Park; the concept and use of found objects, and their shadows; experimental aesthetics, poetry, drama, and voice. You may separately email me at kenboe@gmail.com to discus any specifics, commissions, or general ideas.

Continue reading

ANAGOGY X – keep scrolling down.


Purchase the original painting Anagogy X. This unique, built into the frame artwork is made with Oils, Encaustic, and Fresco on Eucalyptus panel, with Found Object. Its size: 12″X12″

Concerning the exhibition:

ANAGOGY X
EXPERIMENTAL PAINTINGS IN ENCAUSTIC GESSO-GROSSO FRESCO,
and a review of work in other media, by Ken Boe

516 Tombstone Canyon Road. Bisbee, Az 85603
CLOSED

“X” represents the “unknown”, and for this thesis anagogy, a term going back to the ancient pythagoreans, and later as one of the 4 methods of liturgical reading, anagogy functions as a metaphor for something like the transcendental interpretation or “translation” of an artwork’s being. In the pre-medieval reading of biblical passages, it would have meant a kind of sacred reading where one is “tuned in” to the holy spirit, or original source. (For a Platonic interpretation, it might mean one is tuned in to the “first degree” or “pure form” of something’s cosmic blueprint, versus our earthly dimension’s crude rendition of that “true form”. In a more new age interpretation, it might be like reading, re-writing, or performing as a form of “channeling”.

For the artist engaged in making an artwork, this “reading” is simultaneous to creating that artwork — within the vacuum of mysterious process. Just as the ancient shamanistic artists going back to paleolithic times would interpret their visions synchronically with the environment they were in, such as the curves and texture of the cavern wall they painted on, producing an artwork symbiotic to both vision and sacred place, so I respond to the found objects and textures used in my artwork while making it. One might call that ‘deep environmental aesthetics’, or any number of things, where the artistic “flow” takes one to a place where one is not just representing nature, but is part of nature. Further, this “working” or flowing through the experimental and unpredictable “obstacle courses” of creativity allows the artwork to emerge while engaged in a kind of process-oriented “faith”, happening not unlike evolution does in its variations on a theme, slowly selecting one course over another until a kind of intuitively registered perfection is reached for each particular artwork.

This alchemy of the unknown into knowingness is the path of creating new paradigms. I often must stare at an actually original artwork for several days, with breaks in-between, before I can even start to see what is front of me. It’s like the myth of the Indians staring out at the sea unable to “see” the first arriving ships from Europe for which they had no comparable concept.

There are many confusing, often contradictory definitions of Anagoge/Anagogy on the internet. The word is up for grabs due to its historical ambiguity. But this is to some degree true of every word, each concept’s metaphor changing in the flux of usage and context. I could call the show “Refrigerator X”, and I don’t need a literal refrigerator to do so, though some reference or pun might help it along. Anagogy’s etymological roots are of celestial interpretation, the heavens always having represented divine natures, but which we now know are also just more galaxies, suns, comets, planets, moons, and yes, ‘earths’. On our Earth, at our point in time, the garbage theology and linguistics of “literal interpretation” has been replaced by a more urgent consciousness of just all of our garbage which we have littered our minds, environments, and even our cosmos with. In religion and aesthetics a return to allegorical interpretation only seems to make sense, but maybe also this thing that was called anagoge, as well, because its a term which we may bend to reflect the “indeterminacy principle”, so to speak, in our process of becoming, not just representing. The process of making art is not just representing, or communicating a pre-existent idea; it is creating something out of its own whole cloth simultaneous to the weaving of that cloth.

I interpret the entropic, losing-touch, man-made things “going back to nature”, otherwise known as garbage or litter. These things are contradictory in that their meaning was in their function, which has been eliminated as surely as a can of beer guzzled and thrown to the side of the road. Briefly it continues in a state of symbolic ambiguity, physically, semantically, existentially, perhaps spiritually. From these lost icons and dead metaphors, found in the ignored and mindless recesses (ditches) of human endeavor and environment, I lean over, processing them; painting on them; casting shadows from them, and seeking out new sublime image schemas.

The catastrophic allegory of these FALLEN OBJECTS is greater precisely because of their ambiguity and potential for multiple meanings. As creatures on a planet of gravity our “moral imaginations” have evolved metaphors where to fall down is negative, and to rise up is positive. So we put heaven above, hell below, and their synchronicities make sense to us because of our bodily experience in this environment we “grow up” in, and have evolved from. (TO BE CONTINUED.)
click image to unveil, click again to go deeper
GRAVITY GRASP is now available in Bisbee at Magnetic Threads

Click for Spirit Gallery information:
SPIRIT GALLERY RECEPTIONS AND OPEN MIC SALONS WARMLY WELCOME INTERDISCIPLINARY PERFORMANCE AND CONVERSATION
- OPEN MIC SALONS NOT CURRENTLY BEING OFFERED

LIVE MUSIC BY T.S. HENRY WEBB BISBEE’S BEST — LISTEN UP!

Special Thanks to all the amazing Bisbee talent who came and honored me at my openings and open mics. That was by far my best performance of that damn 9 page epic poem that I’ve performed: “Tatterdemalion Day Dream”, with T.S. Henry Webb on keyboards and John Cordes on violin improvising while I read.

FIND IT ON FACEBOOK

These exhibitions have ended, though some of the images below are of works to be seen in the group show following ANAGOGY X. Glow works (UV and glow-in-the-dark encaustic paintings) are no longer available at Triangle “L” Ranch, bed and breakfast, sculpture gardens, and gallery: 2805 N Triangle L Ranch Rd. Oracle, AZ 85623
Call (520) 623-6732 for more information. This is a very cool place close to Tucson.
(article about GLOW, click here.) You may, however, contact me for glow in the dark encaustics, etc.

Delectables Tucson

For this show, Imagination, Fast and Slow, I’ve been thinking about the best selling book Thinking, Fast and Slow, by Nobel Prize winning psychologist Daniel Kahneman. I’ve found a coincidental praxis between what I’ve been working toward in my art practice, and many of the developments in Kahneman’s book. But I am looking for a revolution in seeing imagination as the basis of thought, which the scientific community hasn’t traditionally wrapped their mind around. (Essay continues following show information, with images between each paragraph.)

Thinking, Fast and Slow

†Regarding my technique and medium “Oil and Encaustic Gesso Grosso-fresco”. In Yellowstone National Park, Xanterra Corporation has recycled crayons from their restaurants for me through their Ecologix program. The pigmented soy wax, which I mix with tree sap, and paint on absorbent plasters I’m developing, achieve a kind of fresco where the medium penetrates the surface plaster, though by different means than traditional fresco, using oil paint on the surface which is heat bonded to the surface of the wax-resin-plaster composite. I basically have reinvented ancient techniques, merged with other ideas and techniques I’ve been developing for years. I use discarded objects such as old cans to create my central images out of their shadows, for an ambiguous yet archetypal language.

I behold a powerful role for the artist in human civilization, from the ancient caves of southern Europe to the cosmological hyper-powers of the future. My own art shows are a way for me to explore those possibilities, and my artwork is intended to trigger actual creativity in those around it. More will be posted at my website as it develops.

Show is up! Stop in Anytime 9am to 10pm for food, drink, art…

First Saturday Art Walk on February 2nd, from 4:00 pm. to 2:00 am. See you there! Late on weekends.

Closing Discussion, February 7th, 2013, at 2pm in the afternoon – best time to see the show. I will be giving a Talk, reading my paper “Imagination Fast and Flow” followed by Q and A. I will then take down the show, so its the last chance to see this show.

Art Go Gallery @ Delectables Restaurant   (520) 884-9289

533 N. 4th Avenue  Tucson  AZ  85705 

Synchronic Vocabulary of Art
So my exhibition’s title is a send up and play on words with Kahneman’s book, but with critical import. I hooked onto Thinking, Fast and Slow because he’s assembled together from his experience in psychological research and cognitive science, which includes his own influential research and theory, concepts which run magically parallel to my own research and theory regarding imagination, and the function of art in human environments. Kahneman’s concerns are with such things as how we think, free will, intuition, and decision making. Some of its just a matter of putting my own esoteric articulations in line with the appropriate fields of current research and terminology, something not always easy to do when you are off in the left field practice of art outside of academic circles. I think its hard enough for them to keep track of everything, and one thing that has still eluded most everyone is a working model of imagination.

I imagine a concept of thinking which is imagination based, and until we get that I don’t think we’ll really be able to consciously train better and more healthy thinkers, a skill which seems to have historically evolved as much by luck and circumstance as much as by any educational tradition or rigor. For instance, this crowd is put upon, by their own research, to dismiss the human ego of having free will. I ask them, if we could truly know and master our unconscious selves, might we yet discover free will? Yet, who is trained in their fantasy and daydreaming persona, let alone their REM performances? WIthout a comprehensive art and science of, and tradition for educating children in their fantasy-based imaginations, humanity has little grip on itself. All human endeavor and thought, even ethics and “conscience”, from violence and defense, to invention and planning, are imagination based, and in a way which are rooted in our fantasy lives. So this human creativity is logically a power domain of the artist, of the artwork itself, and much more than has yet been realized. The artist has likewise not yet risen to her stature in the practice’ of humanity.

Physics and art

Kahneman has brought together some concepts that are really useful here. From Fast and Slow, I’ll list some of interest to me, and go into more detail in an extension of this paper to be read February 7th at the closing reception of my show. Fast thinking (automaticity) and slow thinking (deliberative consciousness); Priming (how things in the environment pre-program our behavior): and Flow (the merging of fast and slow by a trained agent, such as a soldier, surgeon, athlete, or artist.) Other thinkers such as Mihaly Csikszentmihalyi, John A. Bargh, and others are behind the research. I will present more references in the final paper and welcome any feedback.

Below are comments from previous shows which highlight my continued areas of practice as an artist which the current work only serves purpose to. Stay tuned and enjoy, and by the way, if you would like to discuss my work, or ideas, or would like to commission a piece of artwork from me, please call me at 928-273-7679 or email kenboe@gmail.com. I believe my theories of priming synchronic vocabulary can be scientifically demonstrated and would welcome a collaborator, or sponsor, to work on going about that.

From previous shows:

As an artist I see myself as indefinitely experimental, a gatherer of techniques, methods, ideas that I have gained from that experimenting; building an ever increasing range of style which is designed to hopefully add to the creativity of those exposed to my work. My linguistic philosophy of art is that the environment we share is the language we share, as our analogies and metaphors are drawn from where we are together. Art and nature fulfill this role, the role of the synchronic vocabulary between thought in action; talk in action, synchronized through our unconscious peripheral vision into the tropes of spontaneously creative communication. And like this original theory of mine, I develop original techniques, or hybrid techniques, seeking out ‘textural literacies’ though mixed-mediums from waxes and tree resins to plasters and oils. I see medium and technique as being just as symbolic as representation is thought to be. I seek in my work compositions which triangulate these semiotic forces. I work with found objects going back to nature, shadowing out unique patterns yet grounded somewhere abstractly in our experience, that we might reference back to them in new serendipitous ways. I agree with those who believe that the artist is not so much imitating nature, but is nature, at least at his/her most spectacular moments, so that occasionally one’s work, or someone’s experience of your artwork, is a place where “beauty” and “magic” are synonymous.   PAINTINGS FROM THE TEAPOT SERIES   In my Teapot Series of paintings, I see what I can pull out of an unconscious scribble, sometimes pitted against found object “container schema” shadows; “steeped and brewed into randomly unique, yet archetypical images; whatever I can spout out, or get a handle on in the chaos and order of controlled entropy”. (Bad puns, huh, but its true that you can just about stick a handle and a spout on any image and call it a teapot.) And that’s what I wanted – some kind of cognitive schema versatile enough that I could develop the scribble into it in infinite ways. I also wanted it to be a container schema which is a bodily archetype we understand intuitively, that notion of in and out of, inner or outer reaches, from our bodies themselves, to numerous other notions of space, and conduct. Ceramic artists have been into making non-functional teapots for awhile now, as sculpture, and I liked that sense of ideation because you can’t pour tea out of a canvas, either, and contemporary painting leaves behind the 4th wall of make-believe, or suspension of disbelief, and allows the media to be a part of the meaning of the work more consciously. More recent works involve features and techniques from painting with a whip, and then advancing significantly to what I’m calling figuratively “Gesso-Grosso-Encaustic”, and “Encaustic fresco,” including the use of hand ground pigments, wax, rabbit skin glue in plaster, tree saps/resins, clays, plasters, and other experimental but thought out recipes. Most of these also play with the concept of the container schema, though usually manipulating shadows from “broken” containers, rather than working with the scribble. Either way, there is a developed intuition with what we commonly refer to as chaos and order. Here we have an example of this latest work: Automatic Maker.

Hung up high, picture was taken from below, is made from Encaustic/Gesso-Grosso; Hand Ground Minerals; Damar and Pinyon Pine Sap; Hemp Twine; Found Object on Eucalyptus Panel: 4'x4'x7".

The part of the story that I am most excited about is that my current work is finding ways to merge my past work and invention with oil painting, plaster, objects, wax, and whips and finding ways to truly bring them together into a more singular vision which I find authentic, a kind of intuition of “synthesis integrity” that only the artist knows in his heart and seeks to find. Contact: Ken Boe PO Box 4591 Bisbee, AZ 85603 928-273-7679 www.kenboe.com TRANSCRIBED NATURES: A GROUP EXHIBITION ONE NIGHT ONLY • MAY 25th (FINAL FRIDAY) • 5 PM to 10 PM 416 S. COMMERCE, WICHITA, KANSAS FEATURING: Bill McBride; Lisa Grossman; Kent T. Williams; Mark Feiden; Lee Shiney; Julie Wagner; Anna Patricia Keller; Ken Boe Please join us in this classic warehouse space, the latest addition to Wichita’s growing arts district. We are pleased to be featuring a number of Kansas represented artists who do not show regularly in Wichita, as well as a few familiar faces. The show is curated by former Wichita artist Ken Boe who now lives in Bisbee, Arizona. This is a one-night-only event and all of the featured artists will be in attendance. (From press release)

DETAIL (must see full work at the gallery)

Detail from my 4′ by 4′ encaustic painting “Prophecy Of The Mundane”, to be exhibited at Transcribed Natures: CURATOR’S STATEMENT “Some artists reflect upon imitating nature, while others may come to see themselves as artist-agents of nature in their own right; that art may be a simultaneous act with/in nature, not just up against it. This exhibition is intended to be a transliteration of that question regarding the artist’s relationship to nature in a very open-ended manner. In this group show the artists’ works range from the sublimely modern yet beautiful landscape paintings of Lisa Grossman; the abstracted landscapes of Julie Wagner, and Anna Patricia Keller; the story-suggesting landscape photography of the Flint Hills, by Wichita bred Mark Feiden; to the more abstract nature of artwork by artists as diverse as the Sculptor Bill McBride, Kent T. Williams, Lee Shiney, and myself, Ken Boe. Of particular interest will be Bill McBride’s mostly free standing sculptures, which will walk the visitor through the different envi- rons of the greater 2-D ecosystem of the exhibit. It was in my conversation with Bill McBride concerning his work’s relationship to nature that we came back to the notion that for both of us, two artists manipulating found objects that themselves have been manipulated by nature’s elements, found ourselves in union with that inner process of nature, not merely representing it. But this is not to the exclusion of imitation in art. It seemed entirely necessary to include artists doing representational art of the landscape to complete this circle. No matter how abstract our own natures, the love of that larger nature of Self/Earth/ Universe includes the ancient human symbolization of it as much as its modern detachments: The man-made object – subjected to the entropy of rust, weather, wear, and disintegration back into the landscape; or the mere splattering of pigment according to her gravity.” —Ken Boe, May, 2012

The Cracking Of Realism

Not the dried out ruins made literal,
But rocks, and rope, and swung
Defeating the normal and feral

Assumption of the real
Fancied up with a frame, and hung
A giclee’ print of Vermeer

Who cracked the language of totems
Pulling a rabbit out of his head
With what’s now realism, although then

Was a sort of high Christian/low Zen
Transforming with skill the pagan deity
Still hiding in painterly ambiguity

Who once emerged from the archetype:
What was a moon, but then a watch;
A burning bush, and then a blotch,
What was truth, yet was not right -

To the lake of dark and light –
To now surf the web of television,
The literal Word of Television:
Decider of eternal hype.

It’s submission season for entering poetry into contests and publication at most journals, and they charge money, often using Paypal. These entry fees typically cost from 2 dollars to 35 dollars, so if you would like to make a small donation to help me get published, please note “poetry submissions” where it asks for the ‘purpose’ of your donation. Scroll further down the blog for other possibilities such as buying or commissioning artwork from me.

Incredible Art Exhibit at Bullion Plaza Museum during the 2013 Miami Loco Art Walk Festival/Conference..

Great show and expect more next year.

Artists:
Janet de Berge Lange – You must see these intricately constructed assembalges by this renowned artist!

Mary Yazzie – Watercolors by this great teacher who has help shaped the minds of Miami school children.

Carrie Curley – Fabulous – giving the exhibition a real sense of showmanship!

Glen Allan – A true force in digital art thinking, giving this exhibition great breadth.

George Caramanna – Who stunned the first Maimi Loco Art Walk with the unveiling of the Barcon building with his provacative oil paintings, is presenting some of his digital paintings.

Ken Boe – and a couple mixed media works by yours truly, from my Imagination, Fast and Slow show in Tucson, I have devized techniques using found objects on special plasters, using wax, pigments, and oil paints.

Bullion Plaza Cultural Center & Museum
150 N. Plaza Circle
Miami, Arizona 85539-1629
Hours 11:00 am – 3:00 pm (will try to be opne until 5pm on Saturday just for this event)
OPEN EASTER SUNDAY
Phone (928) 473-3700
Email az.terr1912@yahoo.com

For 2014:
5TH ANNUAL MIAMI LOCO ARTS FESTIVAL, MIAMI AZ on Facebook

Purchase original Ken Boe artworks through “donation”  

Image

Please email me at kenboe@gmail.com

Ultraviolet encaustic paintings still available:

As an artist I see myself as indefinitely experimental, a gatherer of techniques, methods, ideas that I have gained from that experimenting; building an ever increasing range of style which is designed to hopefully add to the creativity of those exposed to my work.

My linguistic philosophy of art is that the environment we share is the language we share, as our analogies and metaphors are drawn from where we are together. Art and nature fulfill this role, the role of the synchronic vocabulary between thought in action; talk in action, synchronized through our unconscious peripheral vision into the tropes of spontaneously creative communication. And like this original theory of mine, I develop original techniques, or hybrid techniques, seeking out ‘textural literacies’ though mixed-mediums from waxes and tree resins to plasters and oils.

I see medium and technique as being just as symbolic as representation is thought to be. I seek in my work compositions which triangulate these semiotic forces. I work with found objects going back to nature, shadowing out unique patterns yet grounded somewhere abstractly in our experience, that we might reference back to them in new serendipitous ways.

I agree with those who believe that the artist is not so much imitating nature, but is nature, at least at his/her most spectacular moments, so that occasionally one’s work, or someone’s experience of your artwork, is a place where “beauty” and “magic” are synonymous.

Found Wind On A Found Object: Recent Experimental Encaustic Paintings