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C. DimitriThe River Where the Path Meets It, colorful abstract mixed media2016
2016
About the Item
Oil, acrylic, glitter on panel
Dimitri operates from the idea of the “unfinished.” It informs his choice of materials and the way he handles them. It informs the imagery. The unfinished is his first instinct of painting.
There are social-political implications: Democracy is an unfinished project. Enlightenment values are in jeopardy. The biosphere is unraveling. But art has big-picture messages for us.
Dimitri has received fellowships in painting from the Vermont Studio Center and the RI State Council on the Arts. A staff illustrator for The Rumpus and a cartoonist for Entropy magazine, Dimitri has also contributed drawings to the Kenyon Review, Bomb Magazine, and the streets of Providence, RI. His book "Moglie & the New Planet" was a finalist in the 2018 Fence Prize for Children's Fiction. Two of his climate change graph paintings are in the Boston Public Library collection.
His Hello Mussolini series can be found on Tumblr, while additional work is catalogued at his website, Sootghost.
Some of his works are similar to Chris Martin, Ebony G. Paterson, Jean-Michel Basquiat
- Creator:
- Creation Year:2016
- Dimensions:Height: 48 in (121.9 cm)Width: 2.01 in (5.1 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Brooklyn, NY
- Reference Number:1stDibs: LU133915698641
About the Seller
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- ShippingRetrieving quote...Ships From: Pawtucket, RI
- Return PolicyA return for this item may be initiated within 7 days of delivery.
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- Pyre VII, india ink charred plywood abstract patterns earth tones created w fireLocated in Brooklyn, NYPyre VII 2017 India ink and acrylic paint on charred birch plywood 32" x 24" x 1.25" Pyre VII is part of a series of charred panels Watson completed in 2017 at the Arts, Letters and Numbers Residency in Averill Park, NY. The pieces incorporate local materials, rice, and fire to create charred photographic images on plywood that explore themes related to being, substance and imperceptibility. The imagery references the practice of cremation on a funerary pyre in which the corpse is prepared and burned over a construction of combustible materials. Within the work, rather than destroying the body, the fire produces an afterimage that remains indefinitely. Each day Watson would scavenge the site collecting natural objects, such as sticks, small rocks, and other detritus. He laid these objects on the surface of the plywood with raw rice. The surface was then charred using a propane torch. After the objects and rice were removed an image of them remained, like a photogram. In some panels, He incorporated a homemade black rice ink or various paints to tint the surface before and after burning. Rice is a recurring theme in Watson’s work. It alludes to an uncontained body in the process of decay, returning to the earth to become a source of sustenance for new life. It also imagines the soul extending beyond its fleshly container. The act of burning attempts to capture the space between life, death, and rebirth— freezing it in a state of transformation. The sticks, stones, and rice become remnants of life and markers of space and time. They are more than mere grains and detritus. They become the body as a trace of what was and a reflection of what will be. Michael Watson...Category
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