Showing posts with label contemporary art. Show all posts
Showing posts with label contemporary art. Show all posts

Saturday, August 18, 2012

Concrete Block: an autobiography

I taught myself to paint while serving as a Peace Corps volunteer in Western Samoa. Since my first painting was a portrait of a student (I was a science teacher,)  I was imprinted on portraiture. Throughout my art career, it's always been my first love. For a decade, I traveled the world and did character studies of indigenous people: 
Morning in Samoa   by Nolan Haan     24 x 36 inches   oil on canvas

When I returned to the United States, I became a wildlife artist and specialized in portraits of birds:
Nolan Haan     Peacock   oil on panel     40 x 60 inches
When I finally dedicated myself to contemporary art and began doing paintings of concrete block walls, it was inevitable that I would eventually paint portraits of cement blocks.

What?

When asked at cocktail parties what I do, my answer is "I paint portraits of concrete blocks." As you can imagine, this is usually met with a glassy stare and a hasty retreat. I draw strength knowing that Andy Warhol once had to say, "I do paintings of Campbell's  soup cans." And we all know how that turned out. On occasion, however, someone will ask the logical next question, "Why?"

It took me a long time to answer that question, to realize that these concrete blocks were actually portraits of myself. I never painted a traditional self-portrait, always reluctant to reveal so much about myself. Subconsciously, I was using concrete as a diary. One by one,  the cement blocks were documenting my emotions, my states of mind--my life. My concrete alter ego is less self-conscious, so honesty comes more easily. A life story told in the language of cement...
Close to Silence     acrylic on silk, mounted on hardboard    70 x 40 inches
This series showcases the sculptural integrity of individual blocks, often rendered larger-than-life. The process begins with two questions: "What do I wish to convey about myself?" followed by, "How can concrete block convey this emotion?"

Since they look so 3-D, most viewers go first to the technical aspect of the work. My hope is that the content will also be explored. I want viewers to see something of themselves reflected back.

Nolan Haan in his studio, holding Close to Silence
When asked for a picture of myself in my studio for a forthcoming book, TENWORDSANDONESHOT, this was my submission. (The painting is ready to be mounted on a piece of hardboard cut to the exact shape of the block.) It was a relief to have the concrete block speak on my behalf.

Thank you for taking the time to read by blog. Please bookmark this page so you can find me again. If you have any feedback or questions, feel free to post here or email me at nolanhaan@att.net. Also, my website is awaiting your visit at www.AddictedToWalls.com. Take care, and have a productive week.

Wednesday, December 14, 2011

Nolan Haan: "Naked"

I won't ask for a show of hands, but I'm sure many of you have asked yourselves, "What does a concrete block look like completely nude?" My latest painting, "Naked," resolves that burning question. Enjoy.

Unadorned. Unapologetic. Fully exposed with all its faults, yet proudly displaying its sculptural beauty. No smooth skim coat. No fancy stucco finish.  Its beauty lies in its imperfections--a lesson, perhaps.

The painting is quite large, 72 x 36 inches, and is painted in acrylic on silk, then mounted on hardboard cut to the shape of the concrete block. It's a trompe l'oeil (fool-the-eye) painting, completely flat. The center holes are cut out, so you see the venue wall through them. The artwork is mounted two inches from the wall, casting beautiful shadows.

My cement block grew from humble beginnings:

As usual, the first step is to block in the shapes, using gesso of various shades. No detail at this stage, only basic shadows and solid planes of color. The hardboard upon which the painting will be affixed is cut later using a common jigsaw. For now, I must paint the image slightly larger, allowing for the wrapping around the edges of the hardboard. 

I am adding the final details and getting excited about the grand unveiling (my current and former tenants can attest to how exciting that is!) My studio is a 400 sq. foot room in my historic apartment building in Fort Lauderdale, Florida.  Each month I hang my most recent painting in the public hallway, under perfect lighting of course! If you're ever in South Florida, please stop by.

UPDATE: "Naked" had its world unveiling at the Boca Raton Museum of Art's "All Florida" exhibition, curated by Valerie Leeds (Flint Institute of Art.) Please see the following post with pictures from the event.

Thank you for taking the time to visit my art blog. Please bookmark this page so you can read the new entry each Sunday. If you have any questions, please ask, and don't forget to check out my website: AddictedToWalls.com. Take care and have a good week.

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Tuesday, October 18, 2011

Urban Cave Paintings

My transition from wildlife art into contemporary art was a series entitled "Urban Cave Paintings." I combined my love of wildlife, my fascination with prehistoric cave paintings, and my new passion for concrete blocks. This series answered the question, "What if you bought a house and went into the basement, only to discover a cache of ancient cave paintings?"

Urban Cave Painting: Wounded Stag (Lascaux)     acrylic on silk    60 x 40 inches

In 1991, this painting was shown in the Leigh Yawkey Woodson Art Museum's "Wildlife: an Artist's Perspective" and was chosen for their world tour. It was the first time one of my cinder block paintings was exhibited, so it was a proud moment for me. In the catalog, the reviewer wrote:

“...Another unusual work is “Urban Cave Painting:  Wounded Stag” by Nolan Haan.  The only wildlife in sight is a crudely rendered prehistoric antelope on a cinder block wall.  All of this is rendered in acrylic on silk in perfect illusionistic detail.  It is one of the few works in the show with depth of content.”  
                                                       —Ron Netsky, Professor of Art, Nazareth College

This is how the painting looks draped, prior to stretching on stretcher bars. I decided to base this series on famous cave paintings from around the world, often taking artist liberties with the color and design. The next painting featured the swimming deer, also from Lascaux.

Urban Cave Painting: Swimming Deer    acrylic on silk    40 x 60 inches
Urban Cave Painting: Elk and Horses     acrylic on silk    40 x 60 inches
I took some liberties with Elk and Horses. After studying the typical stylistic proportions the ancients used, such as small heads, distended bellies, and tiny, thin legs, I created my own horses. Apologies to Lascaux for presuming to improve and their design.

Urban Cave Painting: Falling Cow (Lascaux)     acrylic on silk     40 x 60 inches


Urban Cave Painting: the Hunters     acrylic on silk     36 x 72 inches (diptych)

The Hunters is based on cave art found in Africa. I found the depictions of humans (rare in Europe) to be very contemporary in design.

Urban Cave Painting: Spot lit Bull     acrylic on silk     40 x 60 inches
I conclude my blog today with one of my favorites: the Spot lit Bull. I hope you have enjoyed exploring my urban caves. Please bookmark this page so you can find me again and please come back often. I'd love to hear from you with any questions or comments, and don't forget to visit my website: AddictedToWalls.com. Take care and have a good week.

Sunday, July 24, 2011

The Physically Impaired

 How do you respond when you encounter a person who suffers from a physical deformity? My first "flock of cinder blocks" will explore my personal reactions--none of which I am proud of. As I work on this series of ten paintings, I will study the psychology of discrimination and share these findings with you. My original, "uneducated" design is shown in the blog entry below. After much soul searching, I determined that, depending on the severity of the deformity, I respond in one of three distinct ways: repulsion (avoidance), indifference (usually feigned,) and curiosity. My cinder block alter egos represent these reactions to the physically impaired. I completed the star of the series today. One of the perks of reading my blog is being among the first in the world to see my new artwork.

Warning: the painting below is not for the faint of heart and may be disturbing to some viewers. It is recommended for mature audiences.

The Physically Impaired     acrylic on silk, mounted on shaped panel   28 x 38 inches   Nolan Haan 
Obviously, seeing a physically challenged cinder block is much easier to bear than if it were a human being depicted. This is precisely why I work with cement blocks. Viewers are less shocked and will spend more time exploring delicate subject matter if not confronted with the human form. A person missing a third of his body would be uncomfortable to look at for most audiences. Our degree of empathy is less powerful when the subject is cement.

Note: to see this painting in progress, please scroll down and read earlier posts.

My blog next week will feature the first of the cinder block reactions to the unfortunate one shown above. Thank you for taking the time to read my blog, and please leave a comment if you feel inclined. As usual, I ask that you bookmark this page and share with your friends on Facebook and Twitter. This week I revamped my website: AddictedToWalls.com, so please visit. Take care and have a prejudice-free week.

Sunday, July 3, 2011

Boca Raton Museum of Art's "60th Annual All Florida Juried Competition and Exhibition"

The annual show at the Boca Raton Museum of Art  is always my most anticipated event, if I'm fortunate enough to be chosen. This year's curator was Dr. Valerie Leeds of the Flint Institute of Art, who culled through 1800 submissions to choose 101 for the show. My painting, Naked, which was discussed in an earlier blog, made its public debut.

Nolan Haan                                Naked                                   Mitchell Lambert
What artists appreciate most about this show is that each painting is hung and lit perfectly. The curators carefully transition from one painting to the next, cognizant of how the artwork relates visually to its neighbors. The opening reception was well attended, and the concrete block name tags worn by my friends (as seen in photo above) made quite the impression. Branding efforts were in high gear!
"All Florida Exhibition" at the Boca Raton Museum of Art
Although I did not win an award, my friend Virginia Fifield won the prestigious merit award for her stunning charcoal entitled "Contemplations of Life, Death, and Beauty." Congratulations Virginia.

This concludes my blog for this Sunday. Thank you for taking the time to visit, and please come back often. If you have any questions or comments, I'd love to hear from you. To see more images of my artwork, please visit AddictedToWalls.com. Take care, and have an eventful week.