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Bill Claps
Ushguli With Shakra Mountain

About the Item

USHGULI WITH SHAKRA MOUNTAIN by artist Bill Claps is a white, gold, and brown contemporary landscape mixed media on canvas that measures 22 x 32 Visual artist and writer Bill Claps meditates every morning. “I find that the most important thing to me is to listen and be open to what the world presents to me. It’s amazing what happens to me when my mind is clear,” says Claps. He explains that he doesn’t seek inspiration, but rather finds that the ideas seem to present themselves and if he is open he can “grab onto them quickly before they go away.” My work has traditionally been characterized by immediacy and gesture, executed combining elements of both painting and drawing, and I typically have tapped into the instinctual and subconscious to create spontaneous works of art. Recently I have been working more conceptually and narratively, utilizing photos and prints of my drawings in my works, and relying on text and symbolic representation to present my ideas. My most recent works utilize Morse code to communicate various ideas and thoughts. In an age where all of our art and communication can be reduced to and stored in a binary language, the fact that Morse code was one of the earliest forms of digital code and the first universal language of the digital age resonates strongly with me. There’s beauty in the simplicity of the simple dots and dashes of this outdated language, but layers of meaning and relevance can be conveyed using its symbolic lexicon. The works in the “It’s All Derivative” series comment on the practice of appropriation in the art world, the use of borrowed elements and visual language from the past that are incorporated into an artist’s vision. These works also raise questions about the role of digital technology in the production of works of art and the relevance of the artist’s hand in the process. Bill Claps Biography Bill Claps' work has been featured in solo and group exhibitions in galleries and cultural centers throughout the United States, including Aspen Fine Arts Gallery in Aspen, Colorado, Kismet Gallery in Westport, Connecticut, and Bendheim Gallery in Greenwich, Connecticut. In New York City his work has been shown at Priska C. Juschka Fine Art, Rush Arts Gallery, Salomon Arts Gallery, 14th Street Gallery, Henry Gregg Gallery, and M55 Gallery.
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  • Divide
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Eppink Art Gallery, Emporia State University,, Emporia, Kansas Hutchinson Community College, Hutchinson, Kansas Johnson County Community College, Overland Park, Kansas Lincoln College, Lincoln, Illinois State Fair Community College, Sedalia, Missouri Hallmark Cards Inc., Kansas City, Missouri Sprint Corporation, Kansas City, Missouri MacGraw Hill Publishing Co., New York City, New York Pioneer Hybrid, Des Moines, Iowa Pella Corporation, Pella, Iowa Fort Smith Public Library (Commission), Fort Smith, Arkansas Deloitte & Touche (Commission), St. Louis, Missouri Publishing Enterprises, Inc. 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  • TENABLE
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  • DARKEN
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I try to capture the mystical light found in natural atmospheric effects: the haze in the distance on humid summer days, the overcast gloom of winter skies, and the softness of landscape bathed in fog, and the quieting mood of approaching darkness. My intent is to create paintings imbued with a meditative, spiritual presence suggesting issues about time and ecology. I do this by softly modulating color, tone and value. The color varies from quiet, monochromatic works to fully orchestrated chromatic ones. By blending from one hue to another I create color which makes its self gradually felt, weeping forth. In this manner, I create illusions of mysterious emanations of light, places where ones eyes and spirit are invited to linger. I try to imbue my work with a monumental presence, epic in both size and scope. I do this by orchestrating the separate elements of color, texture and structure into a harmonious whole. I seek a somewhat reductive image rich in value and contrast. The surface of the work is devoid of textural incidence. I don’t want anything to distract from the illusion of depth so I deny any marks which would hold the viewer on the surface of the painting. In my luminescent multi- paneled oil paintings I try to find the grey area between traditional landscape painting and its abstraction into color fields. The compositions are about ambiguities of form and void, foreground and background and surface and deep space. My roots lie in tonalism, color field painting and minimalism. However, my work contains an ever-present awareness of the dramatic use of light of the post-renaissance chiaroscurists. It combines a classical awareness of structure with a romantic use of color always in combination with a unique sense of ambiguity. My work continues in its evolution of style the search for an abstract means of probing the ambiguities of physical and spiritual experience of light, and its power to foster a more intense life of the spirit through profound emotional experience of form, color and composition. SELECTED PUBLIC COLLECTIONS K.U. Medical Center, Wichita, KS Museum of Art & Archeology University of Missouri, Columbia, Missouri Hoecht Marion Roussel (Commission), Kansas City, Missouri FBL Financial Group, Des Moines, IA Kemper Museum of Contemporary Art, Kansas City, Missouri Wichita Center for the Arts, Wichita, Kansas Daum Museum of Contemporary Art, Sedalia, Missouri The Newark Museum, Newark, New Jersey St. Louis Art Museum, St. Louis, Missouri Springfield Art Museum, Springfield, Missouri Mildred Lane Kemper Art Museum, Steinberg Collection, Washington University, St. Louis, Missouri Arkansas Art Center, Little Rock, Arkansas College of Architecture and Design, Kansas State University, Manhattan, Kansas Fort Hays, Kansas State University, Hays, Kansas Memorial Union Collection, University of Missouri, Columbia, Missouri Norman R. Eppink Art Gallery, Emporia State University,, Emporia, Kansas Hutchinson Community College, Hutchinson, Kansas Johnson County Community College, Overland Park, Kansas Lincoln College, Lincoln, Illinois State Fair Community College, Sedalia, Missouri Hallmark Cards Inc., Kansas City, Missouri Sprint Corporation, Kansas City, Missouri MacGraw Hill Publishing Co., New York City, New York Pioneer Hybrid, Des Moines, Iowa Pella Corporation, Pella, Iowa Fort Smith Public Library (Commission), Fort Smith, Arkansas Deloitte & Touche (Commission), St. Louis, Missouri Publishing Enterprises, Inc. (Commission), Sedalia, Missouri Parks & Recreation Department, Columbia, Missouri United Telephone Systems, Inc., Kansas City, Missouri American Family Doctors, National Headquarters, Kansas City, Missouri DST Corporation, Kansas City, Missouri Crown Center, Hallmark Art Collection, Kansas City, Missouri Hewlett Packard Corporation, St. Louis, Missouri Emerson Electric (Commission), St. Louis, Missouri Mark Twain Bank, Creve Coeur, Missouri Boone County Bank, Columbia, Missouri Landmark Bank, Madill, Oklahoma Septagon Industries (Commission), Sedalia, Missouri KEO Building Corporation (Commission), Sedalia, Missouri D & W Leasing, Sedalia, Missouri 1st National Bank, Rockford, Illinois Mark Twain Bank Shares, Ladue, Missouri Bank of Olathe, Olathe, Kansas Blue Cross/Blue Shield of Missouri, St. Louis, Missouri Cessna Aircraft...
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  • SIGNIFY
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    Located in Tulsa, OK
    Doug Freed attempts to capture the mystical light found in natural atmospheric effects: the haze in the distance on humid summer days, the overcast gloom of winter skies, and the sof...
    Category

    21st Century and Contemporary Abstract Expressionist Landscape Paintings

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