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Prototypical

denoting the first, original, or typical form of something.

A lot of artists will show or otherwise talk about work in progress. I’ve been in that camp often myself. In that spirit, I’m posting this (?) journal as an exercise in fleshing out what a journal-istic element of my practice could be, beyond practicing long form on my blog. As I said in my last post, I’m shaping a vessel for things I’ve technically already been doing, just organized and approached with more intention. *This* one, at least, is a “sketch” (hopefully the first of many).

I’d be curious what my readers think about any part of the format, excepting regular recurrence- I’m planning for monthly and quite candidly, even the capacity needed for that cadence is daunting what with life always lifing… There’s a feedback form at the bottom of this prototype if you have some, please think WWMRD and don’t be an effn’ Troll. Or you know, if you see me out and about just grab me and let’s chat?

Contents

What I’ve Seen (IRL)

Going on in Durham, at the Truist Gallery (as always brought to you by Durham Art Guild) is Between The Margins, a new group exhibition. Big surprise (not), I felt drawn to this mixed media piece by Rebecca Fulmer.

Not gonna lie, I feel like fibers has been done enough over the last couple of years that we are entering a time when it goes from the cool thing to whatever the uncool, next stage of the cycle is. My own impulse towards painterly issues drew me to the piece above, and, Fulmer also surprised me with a foray into optics and light in the little nod to Robert Morris below. Yeah, I also think the purple shadow *is* the point of this work.

Also (not “if you can…”) make your way over to Craven Allen (also in Durham) to see Chieko Murasugi and Heather Gordon vigorously engage systems as strategy in Chance Encounter.

You should also get out on the City of Raleigh greenway (Walnut Creek trail, near the Walnut Creek Wetland Center on Peterson St) and see Air Crysalis by Patrizia Ferreira (the culmination of their SEEK grant).

Disclaimer (and I’ll probably repeat this each “issue”)- a) I can’t/don’t see everything, and b) the fact that I may not post about an exhibit or installation doesn’t mean the work didn’t take effort by all involved. There’s also a feedback form below and, assuming some of y’all use it, I’ll continue to provide a way to critique my critiques.

What I’ve Seen (OTI)

So much of the Art we encounter is seen on our devices, be it social media, press releases or (other) newsletters or periodicals. So, it feels appropriate to carve out a specific section for things I haven’t yet seen irl. Consider it my thanks offering to the great Al Gore Rhythm?

Jenny Eggleston made this print in partnership with Multiplied Projects. I’m flagging because good intentions and creative energy aside, the latter is taking a beat to physically relocate; we should all witness to the value of the artwork above and the challenge of sustaining this type of project.

Jerstin Crosby posted Dead Flowers (2025) on IG

Richard Tinkler drawing

Alexander Endrullat’s “Intaglio” prints are, in fact, actually a smushed laptop that they inked up and ran through a press (thanks Colossal).

Do-Si-Do

Yeah, I dig this Barbara Takenaga, too (Peter Schroth at Two Coats has some words about her newest)

What I thought about for a minute after…

It’s a goal of this newsletter that, each month, something will catch my eye enough to write a bit more than some quick snaps- long form, even if short in format. This month, the exhibit that my mind has returned to most often is Isys Hennigar’s Sands of Seven Hills at Anchorlight.

I got the chance to see Isys in conversation with Hồng-An Trương in the Anchorlight space recently. I was glad to see a packed room, and also grateful for how gracious the artist and moderator were with their time and their thoughts. The work is so textually rich that the conversation sucked in a breathing number of topics. It is also notable that so many of us (apparently) show up at artist talks intending to have a speaker validate what we see in their practice. In all of these instances- where I felt any misgivings about whether the work might be trying to do too much- I also felt sincerity in the comments by Hennigar.

It’s been a minute since I got to witness the kind of respect from a mentor Truong showed to Hennigar. I know the former draws a lot of water in this town, and the import of the deference, while not “the point” in any way, for me landed as very relevant, given the way leadership is so often being modeled in this moment of history. I’ll also note that the camaraderie clearly related to shared interests or at least intentions. As a writer who (literally in the paragraphs above) gives my attention to creatives that share an interest in the media I center in my practice, I’m reminded what a unique place the Arts can be. I see communities within a larger community, where speech is valued and protected, as much as we can at least, and hopefully where the net effect of allowing ourselves to be exposed to some things outside our “go to” has the benefit of keeping our hearts and minds open.

But about the work itself… Although the works aren’t ostentatious, they have a certain maximalist bent-they are crammed full of different cultural references, but belong to none of them specifically, as a strategy to call our attention to how cultural concepts, mores and values are given physical shape.

I saw the piece above first, and circled back to it after seeing the rest of the show. Many of the objects do not declare whether they are found or made, which is Hennigar’s intent- to obfuscate, and not just to be clever or lord their facility with materials over us, which… good Lord can they make stuff. The work would probably fall flat though without the fussiness the Artist is able to muster, and they did note during the talk that the application and intent of high craft is often to give an object cultural significance and weight.

I struggled to believe my own eyes- the coral appeared to be finished (sealed, or painted?) to preserve it, or, was it created like so many things in the show? Was it curiosity from a beach rental, a mandala, a museum diorama? During the talk later, I thought back to this piece when Hennigar wondered out loud about the questions she asks in the work; what is made important, and how, and why. So many of us have picked up broken pieces of coral out of fascination and brought them out of the context of the natural world into the human realm of architecture. (I think) Hennigar would have us interrogate the cultural mechanics of such an action- not to invalidate our enjoyment of nature, but to ask we reason through why the removal of the natural from nature validates the object(s).

I’m only sharing one image because you should all just go see the show- there is still time. Hennigar is offering gallery hours, too, if you want to meet them and see the show (next Saturday, 4/11, from 1-5)

What I’ve written about

My most recent blog was a reflection on Development in which I teased that some thing was forthcoming- I was imagining this journal/newsletter when I wrote about a “vessel.” It’s certainly the first step, and “yes” I still intend to solicit other, professional publishers for my writing as well.

What they’ve written about

I really enjoyed re-reading Chris Dite’s take on the draw of Dune recently in light of the arrival of trailers for the third of Villeneuve’s efforts to visualize Frank Herbert’s world. Regular readers know I love a contradiction and Frank presents me with the feelings…

I’ve been enjoying Ravi Gupta’s Substack recently. I found some interesting perspective in his most recent post that is a reflection after watching Manosphere on ceding online platforms to the bro crowd. BTW I am also trying to figure out being on WordPress and Sub, and IG, in an efficient way. Open to suggestions…

Sharon Butler also recently reposted a 2010 discussion with the amazing Pat Steir (also and I didn’t know Steir worked with lighting which I found fascinating).

Please use the comments on this post to share what you’ve read!

What I’m looking forward to

Yes, I’m hoping some local venue or two will let me break something here, that sounds fun. TBD. Until then, I’ll use this last section of each newsletter to direct your attention more proactively.

First and foremost- I’m excited to be part of the Bara Bara Community Exhibition—featuring 80+ artists and 400 works supporting Diamante Arts and Cultural Center. Come experience this salon-style exhibition, and support local art!

Also looking forward to Cindy Morefield at DAG Goldenbelt

And Lynn Alker at Satellite

D&D is back

Y’all Means All is where you should be if you love beer, fuck Brogaloo

Heading to this year’s iteration of Artfields soon, yes you can expect me to report back (probably over on IG but here, too).

It’s not till May, but it’s almost time for Swamp Jam!

And Anchorlight Spring open house!

I’m also on the look out for what the next big project at Lump is!

And, that’s the general format and expected, typical content I have in mind.

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Thank you for your response. ✨

Rating

BTW, the website *does* still look the same since I last wrote two weeks ago that it is now “under construction.” As someone who has worked in construction, I blame the designer of record…

Development

Regular readers have probably noticed that I didn’t publish any blogs this week about other artists. That’s because, there has been a development; well, there has been development.

A big part of having a practice, for me, is developing- the process of growth, advancement, and transitioning from a simpler to a more complex state. Sometimes, that means admitting that something that was serving you may not be any more. Perhaps that is the time and energy it takes to generate a blog every single day, especially if the energy that draws you to the activity of writing is best served by directing your time elsewhere.

I’ve considered myself an emerging artist for the last several years. Yes we’re going to look right past the fact that I’m 51 and what the word “emerging” usually means in the Visual Arts, at least for now. I need my relationship to this community to change, so I am taking action. The biggest part of that is owning the value of my relationship to all of you, and letting go of activities that don’t grow my connections or influence.

BTW, to any artists from outside the Triangle about whom I’ve blogged, and who started following the same as a result, I do value the (hand full of) times that has happened. And, it has certainly not been for every one of the 2,000+ blogs I’ve done.

I’ve received so much support and encouragement from so many of you here locally, in person and “in the comments section,” for the content I’ve created over the last several years out of my experiences being out and about on the scene. Many of you have told me you enjoy seeing my Instagram posts about, both, the local scene here in the Triangle and some of the artists from around the world (and the canon) I have learned about by blogging. YOUR feedback is the reason I realized I need and want to do more professional writing.

And I do love being out and about, seeing what you’ve all made, reflecting on it and helping to build our community by announcing its existence. Being an artist, to me, is about participating in community, and, I still very much believe that, to have space, you have make space, period. So, I have a pre-announcement to make, which is that, soon, I will launch a new vessel for these activities. Same passion, same focus (eyes on us, here- and likely on abstraction, mostly, of course) with higher expectations and intentionality around the activity/vessel growing my credibility and practice, too.

This site- sterlingbowen dot com- is now in “development” status as well. I will be reorganizing it over the coming months, as I find time. My blog will remain here and continue to be an important part of my practice, even if not daily and, going forward, exclusively my own prose. This will also always be the place to find my portfolio of visual art objects and installations. And an archive of my prior, daily artist-centric blogging practice will live here in some form indefinitely. I am pinning this post to the top of my home page, to center this development in my thinking, and my visitors’.

THANK YOU to every single reader who has followed me so far, and I’d always love to hear from any of you.

…

It’s also interesting to note the importance of the word “development” in my life on a couple of other levels. I am, literally, a developer in my 9-5 role with Duke Energy (LinkedIn profile). For those that aren’t sure what that means, I own a pipeline of electric generation projects in various stages of permitting, contracting and approvals that, lord willin’ and the creek don’t rise, will one day be utility-scale solar power plants. It’s enjoyable work, for me, which also takes – and creates- energy. And “yes” I try to be honest about what working for this particular company means.

Also, one of the definitions of development is “the process of starting to experience or suffer from an ailment or feeling.” These developments in my life do come from a place of experiencing, while maybe not suffering, definitely the need to heal. My reprioritization is, in addition to the reasons above, about making more time available in my life for non-work and non-Art activities, specifically with my life partner. Many of you have met this wonderful person and I suspect most of you came away with the impression that we have a great relationship. Odd as it may sound, given that, we have found ourselves in a space where we want more time with each other. I’m therefore very happy to report that you will all see a little less of me, and my spouse with me more often when I am out and about. I’m grateful to start- and hopefully, to share- our journey to reclaim romantic love.

Dan Rice

estate is represented by Philip Douglas Fine Art. A regular at Cedar Tavern inNYC and an instructor at Black Mountain College, Rice’s painting style had much in common with his fellow abstract expressionists—large scale, bold brushwork, and of course abstract. He balked at having that label applied to him. He declared: “Painting, or any other art form, is not about self-expression. This idea, which has spread somehow, is simply not true. And Abstract Expressionism itself is often thought of as some wild expression of the self, of emotion. This, again, is completely untrue. The last thing a painter thinks of is himself. Painting is truly a means of expressing the ineffable.” 

More (source of above)

#danrice

Hayley Quentin

like Cat is a Hopper Prize finalist. They create (not all abstract) introspective, resonant works informed by science-fiction, mysticism, wisdom traditions, and a human’s experience.

I picked up a strong Symbolist vibe from these, her voice reminds me of Emil and Agnes and Clarence.

More (and more artists on this blog whose work has strong symbolism)

#hayleyquentin

Catalina Arocena

has work up at Oneoneone atm. Including two images below because the artist is showing new work on rice paper, and work from the early 2000s on raw silk. In the latter case, it was hard for me not to think about the state of abstract painting in the that timeframe, and how the pro-intellect, antiromantic sentiment in Art and view of painting as completely dead and invalid likely made these poetic stain works that were quoting non-Western philosophy stand out and not in a positive way (the artist related during their talk, how they found the practice unsatisfying at the time, although I am reading into context with my observation).

Viewers who feel that they see a strong east Asian influence in these would not be wrong- at the artist’s talk, they discussed the relationship of transparent materials to the non-solidity of being ( in terms of both literal energy, and the relationship of reality to the mind), as well as the interplay and visual interdependence of layers in the work as a metaphor for the philosophical concept of interconnectedness of life. Yes, I see a few echoes of Ross as well.

More

#catalinaarocena

Ronny Quevedo

was born in Guayaquil, Ecuador and lives and works in New York, NY. Quevedo’s practice spans installation, drawings, and prints, incorporating and subverting aspects of abstraction, painting, collage, cartography, and sports imagery. Deeply engaged with notions of identity, Quevedo reenvisions pre- and post-colonial iconographies. They show with Alexander Gray.

#ronnyquevedo

Stanley Whitney

On the final day of Black History Month, I want to give snaps to my favorite living painter, who happens to be a person of color, Stanley Whitney. At the highest level, I actually don’t have anything to add to what’s been written about him, other than I have wanted to lick every one of his paintings I’ve ever seen in person. #sorrynotsorry

I have Stanley to thank for my introduction to John Yau, who did a great write up on Stanley and two other painters* in the context of a two-location exhibit with Lisson Gallery in NYC in 2018, around the time my practice reignited.

Stanley popped to the top of mind for me not so much because of the importance of February for all of us to educate ourselves, but because, like Jack, Helen put his show at ICA Boston last year on her top shows list. (link is to Spotify)

*btw, that Yau article also makes note of Harriet and Melissa; speaking of fantastic painters who are also female, Stanley’s spouse Marina is an effing savant with color as well.

Update- this video with Stanley includes my favorite quotable bit of wisdom from him regarding following a painting out the window (just watch- link will take you to YouTube).

#stanleywhitney