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Connie ConnallyJohn "Scrappy" Ramirez, portrait, pro-boxer, oil painting, Churchill,2021
2021
About the Item
Scrappy is an oil on canvas painting by Connie Connally. It is framed in a floater frame. Scrappy brings out the colors of the boxer and shows the muscle formation of this pro boxer.
“I started boxing at the age of 20, when I dropped out of college and had no purpose,” said Scrappy, who trains with the esteemed “Dedham” Freddie Roach in Cali. “I was a troubled youth that played football with hopes and dreams of playing in the NFL. I walked into Wild Card with no idea of being a fighter. I just wanted to try it. After spending a couple weeks in the gym, Freddie noticed my talent and helped by mentoring and giving me the opportunity to spar his world champions.”
Scrappy, it looks like, is in a positive mode, trying to stay in a mental zone of forward movement. “I’m a great boxer, complete fighter,” he said, in closing. “I can box, walk ’em down, bang, fight in the pocket, fight backwards… I make the necessary adjustments to win the fight. But I’m still learning and there’s always room for improvement. I will never stop learning.”
- Creator:Connie Connally (American)
- Creation Year:2021
- Dimensions:Height: 16 in (40.64 cm)Width: 16 in (40.64 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Houston, TX
- Reference Number:1stDibs: LU140528026852
"CONNIE CONNALLY WORKS MOST CLEARLY WITH WHAT WE RECOGNIZE AS GESTURAL ABSTRACTION, ASSOCIATED WITH ABSTRACT EXPRESSIONISM. CONNALLY HAS FOCUSED, HOWEVER, ON A NOTABLE SUBSET OF SUCH GESTURAL PAINTING, ONE RECOGNIZED IN THE HEYDAY OF ACTION PAINTING AND EVEN CITED THEN TO LI ABSTRACT EXPRESSIONISM WITH VITAL PRECEDENTS (E.G. THE LATE IMPRESSIONISM OF MONET, THE EARLY ABSTRACTIONS OF KANDINSKY). LIKE SUCH PRECEDENTS, CONNALLY DISTINGUISHES HERSELF AS, IN ESSENCE, A LANDSCAPE PAINTER, ALBEIT ONE WHO PAINTS THE LANDSCAPE SHE FEELS AS MUCH AS SHE PAINTS THE ONE SHE SEES. INDEED, CONNALLY’S STRESS ON SENSUOUS FORM AND COLOR EXPERIENCE THROUGH REFERENCE TO NATURAL PHENOMENA (IN PARTICULAR VEGETATION AND WATER, NORMALLY IN MOTION) PLACES ITSELF SQUARELY IN A TRADITION PARTICULAR TO THE AMERICAN EXPERIENCE. JOHN MARIN’S EXPANSIVE RHAPSODIES ON THE LOCAL LANDSCAPE EXEMPLIFY THIS TRADITION, AS DOES JOAN MITCHELL’S GRADUAL – BUT ULTIMATELY THOROUGH – ADOPTION OF LANDSCAPE QUALITIES AND REFERENCES. THIS SORT OF “PLEIN AIR ABSTRACTION” DEFINES CONNALLY’S WORK, BUT HER PARTICULAR TOUCH AND PALETTE, AND HER CLOSE AND VIBRANT SENSE OF ATMOSPHERE, DISTINGUISHES IT."
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