Tag Archives: Carleton Wing

Arts

Memorial in Process

Carleton Wing’s statement on “Sharing Time and Space,” the exhibition currently up at MS Rezny Studio Gallery in Lexington, Kentucky, calls it an “exchange.” As the title also implies, this is something shared. On its surface this is readily apparent: here Wing and Paolo Dal Prá engage in a dialogue even across the gulf between life and death. But the objects also stake out their own positions and their own conversation. The cross between the materials and the bodies of work is also an exchange, one that can even speak apart from the intentions of artist, gallery, or viewer. This is where things become more complicated. Set up together, the works work things out amongst themselves.

‘Sharing Time and Space’, Installation view, MS Rezny Studio Gallery

At first the juxtaposition of crisp digital collages with rough wood assemblages, rustic clay figures, and heavy dark paintings comes across as uneven and jarring. Yet there is a sense that despite differences in form and material an animated conversation is taking place and affinities are being forged. Wing and Prá’s works are tied together in ways beyond the inconveniences of their contrasting mediums. In a way these works exist like a single thing, each object a part that contributes its specialized function to the organism as a whole. The exchange is symbiotic.

This is one way that the works fill in each other’s gaps. Separately, Prá’s sculptures, paintings, and drawings seem to be disintegrating. But their fragmented appearance is not really a product of being purposefully unfinished or aesthetically rustic. Instead this is the spirit of their “primitivism,” as if they are objects found, compiled, and now left to weather away. Prá’s works come across like some distant memory, a trace or a vestige of some half-remembered experience. The haziness and roughness of Prá’s paintings and sculptures feels like the melding of different realities. A painting like Figure, showing the curvature of the back of a human form breaking across a mottled surface, is like an image whose overall clarity comes at the expense of more specific details. The object itself and its forgotten source trying to push itself back to the surface meld together as one appears to wear away and reveal the other

Following after this same comparison to memory and its workings, Prá’s sculptures are likewise in the midst of a breaking-down. Their disintegrations are much more literal however. They take place in the physical form and materiality of the objects themselves. This nudges them beyond the realm of art objects to that of real things with a real stake in life and death. Inside of the aptly titled Figure are metal and springs, the guts and bones of things with real presence in the world. These objects become more logical and their existence more necessary as they take on a more vital character. The more this vitalism grows the more intertwined these works become.

In this sense there is also a somewhat sinister current that runs underneath and between these works. Where at first they appear to be starkly separate, they are bound together by the unpredictability of anonymity and autonomy. Together they hint at something outside of what can be seen but which regardless looks out and sees. In the case of Wing’s collages, there is a literality to the form he employs. In the sense that each one plays at being a model of the universe, the radiation from the center is in, out, and infinite. Yet they also hint at an almost conscious presence that peers out through the rapid circulation of the mandala form. Like the eye of a storm, the supposed peace at the center of these mandalas barely masks the fear and anxiety of what their forms in fact model.

This is where Wing’s mandalas really set themselves apart. Beyond their mundane source imagery (birds, prawns, onions), Wing’s mandalas are expansive even as they appear to shrink into the limits of their centers. More than attractive designs they are like eyes that look out from each little pinpoint. In the middle of each mandala, the design is pulverized into the smallest and sharpest possible extremity. The more abstract mandalas pull strongest toward the oblivion of their cores. Muskrat Jaw Secular Mandala and Shell Secular Mandala begin on their fringes as recognizable objects but quickly melt into carousels of frantic and chopped up lines and colors. The complexity of the designs ultimately breaks down into the simplicity of the point. Yet this simplicity is misleading. Through the static center the universe comes roaring through.

Paolo Dal Prá, ‘Horse’, 2017

So this conversation between artists and artworks is quite complex. Initial separation between the objects is bridged by the presence of a vital force that operates seemingly beyond human control. It is interesting that so many of Prá’s figures appear to be blind. But while they are eyeless or with eyes blank and unfocused, they still seem to look out. Even more, placed next to sharply gazing mandalas they are added a profound sense of penetrating sight. Together these works exist as the more unnerving viscera of existence. The universe stares back wildly through the centers of Wing’s swirling and anxious circles and Prá’s mysterious and half-completed figures. When the ghoulish decrepitude of Prá’s Horse plays against the cold prickly apparatuses of Wing’s Machine Part from Tower Bridge, London Secular Mandala, their combined effect is uncomfortable and uncanny. But even here life also flashes in triumph.

In the end it is a fitting memorial. What better place is there to celebrate than within art itself with all its contradictions and persistent questions? Here we are confronted with art as both mute and static objects and something much more active, unrestrained, and messily unresolved.

Arts

The Art of Collage and Assemblage Take Wing

In his Rooftop Soliloquy, Roman Payne states that “All forms of madness, bizarre habits, awkwardness in society, general clumsiness, are justified in the person who creates good art.”  Collage and assemblage artist Carleton Wing could take umbrage to this statement but I doubt that he would. When he began making art in the early 1980s, he considered himself an introvert, a shy person with low self-esteem and his art was a safe way for him to assert himself quietly.

Wing is no stranger to the Lexington arts scene where he owned and operated Wingspan Gallery for several years on the corner of Jefferson and Second Street.  He sold the gallery six years ago after being diagnosed with leukemia and his only option for survival (20 percent) was a bone marrow transplant. Facing better odds (70 percent) in Florida than in Kentucky, he moved to Tampa where he received a stem cell transplant from a 20-year-old male donor living in Germany. Now back in Lexington, his life has undergone a transformation and his art a transfiguration.  Both speak the unspeakable. They shine.

Wing in his studio getting a big hug and kiss from Bella for being a good boy and sticking to his schedule. | Photo by Jim Fields

Wing creates his collages and assemblages by “removing familiar images and objects from their original context and rearranging them to illustrate a new notion or idea.” Although his subject matter is serious—gender, religion, war, politics, and class, he often uses satirical titles and humor to further engage his viewers, to make them think and maybe walk away with a smile on their face.

The Cownolfini Wedding, a take-off of Jan van Eyck’s The Arnolfini Wedding, is prime beef. George Orwell’s Animal Farm came to mind when I first saw it. The pigs, Snowball, Napoleon, and Squealer may be missing from the scene but Animalism still rules the day. The period garb of the two central figures is borrowed directly from van Eyck, and Wing’s crafty placement of the mirror on the tree not only reflects the rear-view image of the original painting but also serves as a reminder that we occasionally need to take a closer look at ourselves—even hindsight will do.

The Cownolfini wedding took place on a pleasant October day in New Hampshire. Her two children, from a previous marriage, look on as the Magistrate enjoys the sun and the Mayor sings Ave Maria

Unlike the bride in Cownolfini, Katrina is not the marrying kind. A hurricane of a woman, she is more like Brunnehilda who, in myth, could be approached only by a man able to surpass her in strength. Wing’s title provides levity and perspective to a perplexing and unsettling work because it imposes a different order on our preconceived notions of reality and sexuality. It is ambiguous and symbolic; it is the surreal inner voice of a bizarre dream.

Katrina has little use for men.

Wing has a definite kinship with artists like Salvador Dali and Renne Magritte, contending that surrealism can actually bring us closer to reality because it mimics the contradictions and absurdities of the “real” world.  And there is method to his madness. Had he given this piece a different title such as The Lady or the Tiger, it would have altered the narrative and the way we look at it.

At the outset of his career 35 years ago, Wing relied on countless images from glossy magazines such as National Geographic, Smithsonian, and Architectural Digest for his constructions.  However, the translucent multi-layering effect that characterizes his more recent work was not possible with opaque paper cut-outs. The Internet, Adobe, and archival quality digital printing now provide him with endless resources and creative possibilities, bringing his story-telling to new level.

So for Wing, making art is about making choices and then seeing where it leads.  His process begins with a single image or object that interests him and then he subconsciously adds other images until he discovers what he is trying to say or until a story emerges, at which point he consciously takes control and works with intent based on how he wants the narrative to unfold as in Jesus Wanders.

Jesus wanders the wilderness on the best he could get from Steeds-R-Us Rentals

Here, Wing brings the Temptation of Christ into the 21st century and Jesus is not exactly slouching toward Bethlehem. He sits upright on a humble beast that travels slightly faster than the speed of a turtle, so he will have plenty of time to absorb the wilderness of modern civilization.  It is a complex composition with a penetrating sense of perspective and perception.

The desert is dotted with vignettes, each with its own story.  Is that Mary Magdalene sitting there in the lower left with her greyhound?  Every line and object, particularly the road and buildings, contribute to the visual depth of the image except for the decorative figure of Christ on the rhinoceros. It is flat, non-dimensional, and stops the eye before it can wander any farther into the landscape.  He stares directly at us perhaps leaving us with that single all-important question: What will (not would) Jesus do?  I suspect he may stop in at Jax’s for a round with the locals before he heads into town.

But In the Great Hall poses a different question—one of self-examination. Evoking consternation rather than a smile, it demonstrates Wing’s power to draw in viewers with his process of digitally layering multiple images with such translucency that it is next to impossible to feel you are looking at a single work of art.  From the dogs guarding the chicken-footed framed faces that haunt the foreground and the diaphanous swooning females on each side of the background to the pair of eyes overseeing all, the artist presents an allegorical narrative on human nature—we, too, get to make choices.

In the Great Hall of Consequences, Grief and Atonement

The rather stern Miss Sturgehill, however, appears to be propelled by a lot of confidence and few regrets.  Besides never having lost a road rally, she never misses a photo op either.  Wing’s wit, sarcasm, and humor come to the fore in this collage and, being a cat lover, I like to think it began with the single image of the devoted and fearless feline, Mr. Whiskers.

Miss Sturgehill has never lost a road rally with Mr. Whiskers as her navigator.

In most of Wing’s collages, as apparent in Miss Sturgehill and Christopher’s Pastime, the heads are a bit too big for the bodies; the size of various objects are not in direct proportion to others far or near, and the perspective, in general, is a little off-kilter. No, you are not suffering from Alice in Wonderland syndrome (AiWS), but you are experiencing Wing’s playful Lewis Carroll effect where both the familiar and unfamiliar are distorted to make us rethink what we think we see or know—or to simply make up our own stories. 

Christopher’s favorite pastime is playing with his friend Randy.

Wing embarks on a similar journey with his assemblages, beginning with a single object and then improvising until it takes a form that dictates what he should do next.  His Warrior Turtle began with a turtle shell, a doll’s head mold, and a pair of bronzed baby shoes.  The rest came from whatever he had on hand that knew it belonged to the warrior.

Turtle Warrior (front view)

The codpiece is actually a corn husker; the arms, forks; the weapons, a spear and a kosh; and the headgear, mangrove seed pods. The pieces of leather overlapping the shoulders, the leopard skin fabric, the beads, and the iconic crosses strengthen the ceremonial primitive spirit of this warrior king.

Turtle Warrior (rear view)

The back of the warrior is flanked with seashells and adorned with a deer’s tail.  The anklets which look like chainmail are made from gutter guard.  I think you get the point. Question: When is a potato peeler not a potato peeler?  Answer: When it gets into the hands of Carleton Wing. 

Two years into recovery from his stem cell transplant Wing came back to his drawing board and it renewed his spirit, aided his healing, and improved his outlook on life.  His recent collages of secular mandalas, 10 of which now hang in the Markey Cancer Center, further demonstrate to us an artist who sees the infinite in the finite, who sees many worlds within the one we all share.

Bee Eater

These mandalas, geometric figures that represent the universe, also signify our search for completeness and self-unity. They have no beginning and no end. The patterns and designs are as infinite as those of the snowflake and as limitless as our imagination when we are not afraid to open our eyes. This is the perspicacity Wing shares with us through amazing works of art such as Bee Eater and Orchid.

Orchid

I had some questions for Wing:

And…

Wing has two upcoming shows. The first, Short Stories from the Near Side, at the Carnegie Center’s newly renovated Skydome – 251 West Second St. (859-254-4175), opens on Friday, March 16 with a Gallery Hop reception from 5-8 pm, and closes on May 14, 2018.

The second, Sharing Time and Space, an exhibition of his Mandalas in a duo show at M.S. Rezny Studio/Gallery – 903 Manchester St. (859-252-4647), runs from April 10 through May 26, 2018. An artist’s talk is scheduled on May 12 from 11:00 am – 12:30 pm, and a closing Gallery Hop reception 5-8 pm on May 18, 2018.

(All images courtesy of the artist)