Fulfilling the void (pt. II)

These works are explorations of space, most notably characterized by populating a circular form with a pattern to dirupt any idea of pure space, instead exploring ideas of the positive/negative shifts that alter our perception. There are 2 rifles, barrel to barrel, forming a negative space phallus ejaculating upwards also disguised, disrupted, by this pattern. The content, masculine and phallic, machine and organic, forms a layering of complexity subverting the imagery into designed beauty. This is, of course, by intent. It is cultural camoflauge.

 

The idea for me, is to present something beautiful, offering a subliminal message of power and violence that the viewer walks away from without fully realizing. It is the way subtle temes and memes work in society to replicate themselves, the viewer is simply a host to the idea and as such it has a virulent spread due to our inability to recognize the source.

I equate this spread of ideas with cultural violence and power.

Ryder Richards: Contemplating Unconventional Exhibit Spaces

Interview on the Texas Tech University Alumni blog…

Ryder Richards is a man who makes space for art.

Ryder Richards (2001 BFA in Painting and Drawing; MFA from Texas Christian University in 2003) is the Richland College Gallery coordinator and his show, “Response,” at Richland College’s Brazos Gallery is open for viewing from February 3rd to March 3rd. Richards was recently featured in D Magazine for the “responsible risk taking” that led to the creation of alternative gallery space located at Richland College. Renowned for his extensive long-term collaborations, Richards is deeply invested in the interconnectivity of art to life; the following interview provides a window into Richards’ contemporary curatorial sensibilities.

ART: How are your redefining gallery spaces and their function? Why is it necessary to redefine the exhibition space?

RR: I consider GALLERY to be a word put on a space when we want a considered contemplation. The idea of gallery is often confused with the gallery structure: bricks and mortar with white walls displaying objects of significance. The necessity in exposing gallery misconceptions is that each artist, each person, becomes encouraged to utilize their ingenuity to start movements capable of achieving goals independent of the traditional program. Once that concept has been dispelled a GALLERY can be seen as a way to further ideas and engage people. As such, a GALLERY can be anything we can name: the back of a Ryder truck, a website, or a twelve year old boy’s sock drawer filled with toy cars.

For example, the RJP Nomadic Gallery, created by Piotr Chizinski, Jonathan Whitifill, and myself, originally functioned as a way to show art wherever we could due to our geographic isolation in Lubbock. We drove the truck to a new city, proclaimed it a GALLERY, handled it seriously, and it became a way for artists from Lubbock to gain exposure and empower ourselves. The nomadic gallery offers a decentralized solution; free of the cumbersome etiquette and foundation that plague large institutions.

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Many thanks to Joe Arredondo, Assistant to the Director at TTU School of Art and Landmark Arts Gallery Director, for setting up this interview, and Kim Matthews, TTU Art PhD student, for the interview and editing.

link: http://www.ttuartalum.com/?p=1873

Fulfilling the Void (pt. I)

Fulfilling the Void: Orchid- graphite, goldleaf on paper, 30"x22", 2011

These works have developed from several ideas about architecture and information/ideas that are built into the systems with which we are surrounded. I am interested in the temes and memes that implant themselves, using humans as carriers to transfer and host ideas. I see this as information replication, often related to sociology and human behavior.

A system is a network of ideas and people, often embodied by physical items. I have been using rifles in my art to talk about power and masculinity while exploring the social construct that surrounds them. This mentality of power, violence, is pervasive in rural areas, therefore it must replicate itself.
Can ideas, through their objects, have sex? Does the object seduce and implant it’s construct within the unwitting recipient?

"Fulfilling the Void: Orchid" graphite, acrylic, and gold leaf on wood, 84"x 60"_ 2011

This is a larger, more sculptural version, of “Orchid” installed at 3601 Euclid, Dallas. Notice the colored reflection in the image below. I painted the back of the structure hot pink so it would have a neon glow reflected on the wall.

"Fulfilling the Void: Orchid" graphite, acrylic, and gold leaf on wood, 84"x 60"_ 2011

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