Charles Schwall: Breaking, Splitting, Seaming by Bruno David Gallery

C H A R L ES S C H WA L L Breaking, Splitting, Seaming

bruno david gallery

CHARLES SCHWALL Breaking, Splitting, Seaming March 2 - 25, 2017 Bruno David Gallery 7513 Forsyth Boulevard Saint Louis, 63105 Missouri, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Director: Bruno L. David This catalogue was published in conjunction with the exhibition Charles Schwall: Breaking, Splitting, Seaming Editor: Bruno L. David Catalog Designer: Yihuang Lu and Thomas J. Fruhauf Design Assistant: Claudia R. David Printed in USA All works courtesy of Charles Schwall and Bruno David Gallery Cover image: Between I, 2016 (detail) Gouache on paper 18 x 18 in. (45.7 x 45.7 cm)

CONTENTS

A CONVERSATION Charles Schwall and Bruno L. David AFTERWORD by Bruno L. David CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

A Conversation with Charles Schwall 2

Bruno David: This is your third solo exhibition with the gallery. Can you talk about some of the central ideas that underpin your work? Charles Schwall: For many years, my work has been informed by the study of organic systems, trajectories of biological growth, and the structures of living organisms. My investigations explore how the material of water, especially the life-giving aspects of water, can define a visual language. Also, I am a systems thinker in that I’m interested in the dynamic relationship that interrelated elements can have, and ways that disparate interdependent parts can relate and effect one another. The unforeseen directions that these things can take intrigue me. I’m a painter, who likes to read, and I write a lot, so things I’ve read can really affect what and how I paint. Years ago I found a book called “The Curves of Life,” by Sir Theodore Cooke. It was written in 1914. It’s an amazing 400-page treatise on the spiral formation, or helix, as an essential part of the principle of life, found in the structure of plants, shells, and the human body. When I read it I discovered a great deal about myself as a painter, it opened up a lot of new avenues in my work. I have made several trips to the Gulf of Mexico, specifically to Sanibel Island, to immerse myself in the natural environment. During these trips I make drawings and small paintings from life forms found in the marine habitat, different types of mollusks such as gastropods, bivalves, and cephalopods, and also the botanicals found there. This work becomes source material for the paintings I make when I’m back in the studio. My work aims to goes beyond the appearance of the forms, to seek out the relationships between natural rhythms and harmonies, using color, contour and shape, and to a certain extent, geometric language. My reading within the field of science is about how organisms grow and change. I think all of these experiences, the trips and the things I’ve read, filter through me in very personal ways, and come out in the paintings I create. The art historian and writer Andrea Ferber has described my work as a “meditation on biology,” and I’ve always loved that thought.

BD: What new concepts influenced your approach to painting, as you created the work for the current exhibition? CS: The title of the exhibition, “Breaking Splitting, Seaming,” points directly to the vision I hoped to create. I wanted to make a divergent body of work. For many years, my work has been a unified visual language. By that I mean that the forms I chose to use, to invent, and to paint, had a great deal of self-similarity, and that was the achievement of it. I used shapes that balance the natural with the geometric. There was smoothness to my forms, a Euclidian aspect that I wanted to break apart, to deconstruct, and respond to what would happen. Also, in my career as an educator, I’ve studied cognition, knowledge, and expressivity. I am fascinated by current understandings and implications of these issues as culture moves further into the 21st century. The work of the developmental psychologist Howard Gardner interests me a great deal. In his book, “Five Minds for the Future,” he writes about frames of mind and ways of thinking that occurs within various disciplines. He describes how theoreticians working today often fall into two categories. The first group he calls “lumpers,” because they lump ideas together to find connections, join theories, and accentuate the commonalities. This approach builds understanding by making comparisons between elements. It’s a good approach for building a unified field of knowledge or a singular aesthetic. For me, as a painter, I think this is how I approached my aesthetic for many years. For example, I might study the visual appearance of a seashell, an organ of the human body, and a botanical, then paint what these three things have in common. For years this was my approach. Gardner’s second category of thinkers is called “splitters.” Using a contrasting approach, splitters work to find distinctions among concepts and ideas. Splitters ask questions like: Why do these things not connect? What is the crucial difference among elements? This divergent approach can open up new ways of thinking and allow for unforeseen directions to occur. Splitters play with ideas within divergent processes, and enjoy

the contrast among ideas as they find solutions. For the body of work in this exhibition, I wanted to become a splitter in my thinking, and then see how it would affect my creative work. Aside from ideas and concepts, there is also the influence of life itself. Sometimes events that happen in life can greatly affect the work in the studio. Prior to making this body of work, I left my teaching position at a school where I had worked for 22 years. My roots there were very deep. My wife and I moved from St. Louis to Kansas City. While some people move from one city to another very easily, for us it was a major shift in our lives. I lived apart from my partner for over a year during this transitional phase. I had lived in Kansas City years before, so in a way it was a kind of homecoming. I was very excited to go and ready to meet the new challenges of setting up my studio and greatly expanding my creative practice. It was if my life was literally being torn apart and seamed back together in new ways. That’s how it felt. Once we were in Kansas City and starting to get settled, I began renewing old friendships from years before, while at the same time maintaining our connections to people in St. Louis. Now I feel as if I have part of my identity rooted in each city, both places have so much to offer. I live in Kansas City, but I come to St. Louis often, and this going between two things is very important. As an artist, it’s critical to find ways to continually shift perspectives, and to see things fresh. I have learned that the idea of moving between two things, or being split in some way, is closely connected to my identity as a creator. I think it’s about the desire to change from one condition to another, to transition to something new. So this underlying attitude helped produce the paintings I created. BD: In the exhibition, you have introduced new compositions and found inventive ways to structure your images. How did this come about, and what helped you achieve this? CS: Once I had conceptually decided to split the forms in my work apart, I was excited to see what would happen. I wanted to open the paintings so new things could happen. When you are working in the studio, you have to act. Sometimes thinking, or thinking too much, can get in the way. When I’m in the studio, I always try to have my hands moving in order to keep the creative processes moving forward and unfolding.

I began by making drawings in ink, pencil, and charcoal. These drawings were very process oriented, done often on tissue paper, and became the starting points for the gouache paintings. I work quickly and the hand-and-eye response is very important to me when I draw. Then I transformed these drawings by folding or cutting them apart, or manipulating them in other ways. I also drew with digital vector programs on the computer. Once these were printed, it allowed me to shift back and forth from the digital context to paper. This was a very exploratory process, searching for new ways of putting things together. From these disparate processes, the new forms, motifs, and compositions emerged. Then I transferred the forms to watercolor paper and began to paint them with gouache paint. As the painting process begins, there are many new choices to be made, such as color relationships, and refining and editing the compositions. BD: All eighteen works in the show are painted with gouache, why this choice? CS: Gouache paint is an opaque watercolor that offers many possibilities. It’s a great medium for laying down areas of flat color and doing precise line work. It has more body than watercolor therefore it has more hiding power. Gouache paint has the ability to seem thicker and juicier than it actually is. I like that about the medium. This is important to me because I’m very interested in the physical presence color can possess, even in a water-based medium such as gouache. My color pallets have always been defined by lightness in hue, low saturation, and close relationships among the colors. This gives my work lightness and an overall softness. When the show was hung in the gallery, I felt as if I was seeing it for the first time, even though the works had hung in my studio. The way the color filled the gallery, as a whole, was very close to what was in my mind, and what I consider to be my inner color-space. My ideas about color are also defined by the relationship between opacity and transparency. Several paintings, “Suckle,” “Between,” and “Becoming” explore the exchange of energy between the water environment and botanical forms, how these two systems interact and come together. In the “Suckle” paintings, two colors overlap to create a distinct third color. This is achieved by layering a transparent color over another. This

color, the third one, was a surprise when I painted it. But transparency goes beyond merely being a formal element in the work; it’s about revealing what is hidden. The property of transparency is really, I think, the ontology of the work, in that it’s a fundamental property to the existence of the work. BD: In what ways do you regard composing within the square format? CS: Composing within a square format has been very important in my work for many years, and I wanted that to continue. Years ago, I wrote down this question in my notebook: Can organic movements take place within the square? I have been investigating this ever since. I also use symmetry, asymmetry, and the mirroring aspects of various surfaces in combination with the square format. Various compositional actions take place in the arena of the square. There are compositions in which the forms or edges are torn, split, severed apart. This happens in a painting titled “Disjoin.” In this painting, one form looks as if it is pulled it apart or doubled into two images. Other works have actions of becoming unified seamed, reconnected, or joined.” BD: There are some aspects of the paintings that don’t reference the natural world at all, but rather textiles and patterns. Can you talk about the significance of this? How did this development in the work come about? CS: The choice to include new references has been a major shift in my work. I have an ongoing interest in textiles, fiber, and fashion and forms of clothing in art. Before this exhibition, this interest was not part of my creative work in any direct way. However, as I began to make these paintings, I wondered if I could use this interest as a framework to structure the images, because clothing is a sign system and fashion is a construction. So I wondered, how can these ideas influence my conception of a painting?

When I was in Paris some years ago, I did a study in the Louvre about how various painters represent cloth. I was interested in the brushstrokes that painters used when they represented diverse types of fabric. I took photographs of small sections of large oil paintings in which fabric was represented, so I could remember the brushstrokes used, the types of patterns I saw. I was also interested in the characteristics of the cloth and fabric I saw in the paintings: Was it on a human form? Thin and transparent like a veil? Or decorated with a pattern? So I began working on some paintings that were based on these ideas. The pieces titled “Swatch“ represent one small section of fabric, like it was taken right out of a tailor’s booklet. These paintings focus on color, texture, weave, and pattern. Conceptually, a swatch exemplifies the larger thing from which it was taken, so there is an implied micro to macro relationship. The viewer sees one small section of an implied larger totality. Those pieces also have a movement that parallels the organic, like the way cloth moves and twists in space; fabric has a water-like quality that fascinates me. Other pieces in the show refer to textiles or the construction of a garment. The “Collar,“ “Adornment,” and “Décolleté“ paintings all play off the idea of a neckline. These works combine sources from the natural world and garment construction into one work, in a sense grafting them together. “Pleats” refers to the folding process takes place when fabric is pleated and sewn. The “Flutter” paintings operate on multiple levels and embody qualities of the natural world as well as textiles. In these works, there is a feeling of absence, breaking away, or being cut off from an invisible edge. They explore the similarity between the evocative of the movement of coral in the water and the way fabric ruffles and twists. When I look at art, or when I think about art, I often look for metaphors. With this exhibition, I have come to think of my work as symbolizing nature as a garment. That’s the metaphor that came out of this work: that the natural world is like a garment. Right now, that is the intersection that interests me most.

This conversation (March 2017) is one in a series of the galleryâ&#x20AC;&#x2122;s exhibitions conversations/essays written by fellow gallery artists and friends.

AFTERWORD by Bruno L. David 10

I am pleased to present a new exhibition titled “Breaking, Splitting, Seaming” by Charles Schwall at the Bruno David Gallery. This is the artist’s third solo exhibition with the gallery. Schwall’s work investigates a longstanding interest in curvilinear and organic formations found in nature connected to life, growth, water imagery, and the life sciences. In each work, interdependent elements create compositions that explore diverse organic systems and are evocative of flora and fauna of the natural world. His aesthetic explores trajectories of growth, the expansion of organic systems, and morphology (the form of living organisms and their structures). Compositions are created through the use of overlapping forms and visual elements that come together, touch, and in one sense caress one another. There is interplay of containment and lack of containment among the energy transferred among the distinct relational parts. Color is an essential element employed to compose the spaces of the paintings. His most recent works on paper explore forms of change (processes that are taken apart, torn, split, or severed) and forms of union (processes that are seamed together, reconnected, or joined). These works explore the relationship of human culture to nature, and seek to create gendered space by combining forms that reference the natural world with cultural references taken from textiles, forms of clothing, and fashion. Symmetry, asymmetry, and surfaces that mirror one another and reveal the contents from another place are also key concepts in the work. Indeterminacy and fluidity of meaning within the context of gendered space provides viewers with opportunities to reconsider what can be revealed when looking deeper or beyond what is immediately obvious. As an educator, Schwall studied the educational system in the municipality of Reggio-Emilia, Italy, and co-edited and co-authored the book, In the Spirit of the Studio: Learning from the Atelier of Reggio Emilia. He holds a BFA from the Kansas City Art Institute and an MFA from Sam Fox School of Visual Arts - Washington University in St. Louis. He lives and works in Kansas City. Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery since its founding in 2005. I would like to express my sincere thanks to Charles for allowing me to include our conversation for this publication. I am deeply grateful to Yihuang Lu and Thomas J. Fruhauf, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Cleo Azariadis, Ashley Lee, Xizi Liu, Charis Schneider, Yihuang Lu, and Paula Stevenson. 11

CHECKLIST & IMAGES OF THE EXHIBITION

Swatch I, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 14

Becoming I, 2017 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm)

Between II, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 16

Adornment III, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm)

Becoming II, 2017 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm)

Suckle III, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm)

Disjoin II, 2017 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 20

Decollete I, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm)

Flutter II, 2017 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 22

Decollete II, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 23

Pleats I, 2017 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 24

Adornment II, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm)

Flutter I, 2017 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 26

Collar II, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 27

Between I, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 28

Swatch II, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm)

Suckle IV, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 30

Collar I, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm)

Suckle I, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 32

Suckle I (detail) 33

Collar IV, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 34

Collar IV (detail) 35

Collar III, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 36

Adornment IV, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 37

Suckle II, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 38

Foliate VI, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm)

Adornment, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm)

Foliate VII, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm)

Foliate V, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm) 42

Foliate VIII, 2016 Gouache on paper 18 x 18 inches (45.7 x 45.7 cm)

Charles Schwall: Breaking, Splitting, Seaming (Installation view)

CHARLES SCHWALL Born in Denver, Colorado Lives and works in Kansas City, Missouri EDUCATION M.F.A. B.F.A.

1991, Washington University in St. Louis, St. Louis, MO 1987, Kansas City Art Institute, Kansas City, MO

ONE-PERSON EXHIBITIONS 2017 2011 2006 2000 1994 1991 1988

Bruno David Gallery, Breaking, Splitting, Seaming, St. Louis, MO (catalogue) Bruno David Gallery, Source Confluence, St. Louis, MO (catalogue) Bruno David Gallery, Eat Me, Drink Me, St. Louis, MO (catalogue) World Trade Center RCGA, Charles Schwall, St. Louis, MO Allegro Gallery, Charles Schwall, Kansas City, MO Washington University Gallery of Art, MFA Thesis, St. Louis, MO University of Missouri Conference Center, Charles Schwall, Kansas City, MO

SELECTED GROUP EXHIBITIONS 2017 2016 2015 2014

OVERVIEW_2017, Group Exhibition, Bruno David Gallery, St. Louis, MO AND / OR, Group Exhibition, Bruno David Gallery, St. Louis, MO OVERVIEW_2016, Group Exhibition, Bruno David Gallery, St. Louis, MO OVERVIEW_2015, Group Exhibition, Bruno David Gallery, St. Louis, MO OVERVIEW_2014, Group Exhibition, Bruno David Gallery, St. Louis, MO

2012 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 2000 1999 1998 1997 1995 1994 1992 1991 1990 1987

Artworks, Group Exhibition, Bruno David Gallery, St. Louis, MO Recession Rejuvenations, Bruno David Gallery, St. Louis, MO Color & Design, LH Horton Jr. Gallery, San Joaquin Delta College, Stockton, CA Biennial Quad-State Exhibition, Quincy Art Center, Quincy, IL Over_View, Group Exhibition, Bruno David Gallery, St. Louis, MO Synchronous Events: Charles Schwall & Chris Kahler, Rueff Gallery at Purdue University, West Lafayette, IN Charles Schwall & Jason Urban, Schmidt Arts Center at Southwestern Illinois College, Belleville, IL Nineteen St. Louis Painters, Daum Museum of Contemporary Art, Sedalia, MO Selections from the Contemporary’s Flat Files, Contemporary Art Museum St. Louis, St. Louis, MO Summer Exhibition, Space B, New York, NY Gallery 20th Anniversary Exhibit, Elliot Smith Contemporary Art, St. Louis, MO Everything You Ever Wanted to Know about Art, Elliot Smith Contemporary Art, St. Louis, MO Group Exhibition, Philip Slein Gallery, St. Louis, MO Bi-National Art Exhibit, U.S. Embassy, Asuncion, Paraguay Group Exhibit, Ninth Street Gallery, St. Louis, MO 6th Annual Regional Exhibition, St. Charles County Community College, St. Charles, MO Group Exhibit, Bi-State Development Company, St. Louis, MO 5th Annual Regional Exhibit, St. Charles County Community College, St. Charles, MO Sharpening the Edges: 2nd Annual Invitation Exhibit, North Gallery, St. Louis, MO Woman in the Broader Sense, St. Louis Artists’ Guild, St. Louis, MO Two Person Exhibit, St. Louis Regional Commerce & Growth Association, St. Louis, MO Group Exhibition, Lisa Steinmetz Gallery, St. Louis, MO Honors Exhibition: Selected Artists from Art St. Louis X, Art St. Louis, St. Louis, MO Art St. Louis X, Art St. Louis, St. Louis, MO Art Facult y Exhibit, Forest Park Community College Art Gallery, St. Louis, MO Group Invitational, Culver Gallery, St. Louis, MO Two-person show, Forest Park Community College Art Gallery, St. Louis, MO Brave New Pixels 3: A Computer Generated Art Exhibit, A.R.C. Gallery, Chicago, IL Group Exhibit, Randall Gallery, St. Louis, MO BFA Exhibition, Charlotte Crosby Kemper Gallery, Kansas City, MO

1986

The 29th Chautauqua National Exhibition, Chautauqua Art Association Gallery, Chautauqua, NY

SELECTED BIBLIOGRAPHY Langdon, Paul. “Interviews,” HEC-TV, March 3, 2017 David, Bruno. “A Conversation With The Artist” Catalogue, Bruno David Gallery Publications, March, 2017 Ferber, Andrea. “Source Confluence,” Catalogue Essay, Bruno David Gallery Publications, November, 2011 Cooper, Ivy. “Bruno David Shows Connect Wall,” St. Louis Beacon, November 20, 2011. Barone, Laura. “Charles Schwall: Source Confluence @ Bruno David”, archedartnow.wordpress.com/2011/10/24/charles-schwall-source-confluence-bruno-david-gallery/ Beall, Dickson. Insight from artist Charles Schwall, web video, www.westendword.com/Articles-c-2011-10-21-177463.114137-Insight-From-Artist-Charles-Schwall.html Beall, Dickson. “Charles Schwall at Bruno David,” West End Word, October 21 - November 3, 2011 Herndon, William. “Looking with Soft Eyes: The Paintings of Charles Schwall,” Catalogue Essay, Bruno David Gallery Publications, (March 2007) Bonetti, David. “Artist Celebrate Elliot Smith With Works Incorporating 20,” St. Louis Post -Dispatch, October 3, 2004. p. F6. St. Louis, MO Cooper, Ivy. “1984-2004 Twentieth Anniversary Celebration At Elliot Smith”, Riverfront Times, September 29 -October 5, 2004, p. 178. St. Louis, MO. Martelli, Rose. “Smith Elliot: The Gallery Looks In The Mirror For Its 20th.”, Riverfront Times , September 15-21, 2004, p. 32. St. Louis, MO Bonetti, David. “Everything Show”, St. Louis Post- Dispatch, July 18, 2004, p. F8. St. Louis, MO Cooper, Ivy. “ Everything You Ever Wanted To Know About Art...”, Riverfront Times, July 28- August 3, 2004, p. 42. St. Louis, MO. Duffy, Robert. “Art St. Louis X, Exhibition Review,” St. Louis Post-Dispatch, October 13, 1994

AWARDS & HONORS 2010 2009

Vermont Studio Center, artist residency, Johnson, VT Anderson Ranch Arts Center, Art Educator Institute residency, Snowmass, CO. (National Endowment for the Arts grant)

SELECTED LECTURES & PRESENTATIONS 2011 2008

Lecture on Creative Practice, College of Visual Arts & Design, University of North Texas, Denton, TX An Artist’s Favorites, gallery talk, St. Louis Art Museum, St. Louis, MO Lecture on Creative Practice, Yue-Kong Pao Hall of Visual & Performing Arts, Purdue University, West Lafayette, IN Lecture on Creative Practice, Schmidt Arts Center at Southwestern Illinois College, Belleville, Il

WRITING BY THE ARTIST Schwall, Charles, Grounding, Flow, Release: The Paintings of Laura Beard, essay published by the Bruno David Gallery, 2008. Schwall, Charles, Tenuous Occupancy: The Sculpture of Lindsey Stoufer, essay published by the Bruno David Gallery, 2007. New, Rebecca & Cochran, Moncrieff, Early Childhood Education: An International Encyclopedia (four volumes), “Atelier” entry by C. Schwall, (Greenwood), 2007. Mendez, Guy, Art to Heart, DVD television program & supporting materials produced by Kentucky Educational (PBS) Television, 2006. Gandini, Hill, Cadwell, Schwall, In the Spirit of the Studio: Learning from the Atelier of Reggio Emilia, (Teachers College Press), 2005 Schwall, Charles, “Creative Computer Play,” Parent & Child Magazine, Scholastic,vol. 13, no.1, September, 2005. Wein, Carol Anne, “Book Review,” Innovations in Early Education, vol. 10, no. 3, Spring, 2003 Schwall, Charles, “The Atelier Environment: Recognizing the Power of Materials as Languages,” in Next Steps Towards Teaching the Reggio Way, second edition, edited by Joanne Hendricks, (Merril Prentice Hall), 2003.

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ARTISTS Laura Beard Heather Bennett Lisa K. Blatt Michael Byron Bunny Burson Judy Child Carmon Colangelo Alex Couwenberg Jill Downen Yvette Drury Dubinsky Damon Freed Douglass Freed Ellen Jantzen

Michael Jantzen Kelley Johnson Howard Jones (Estate) Chris Kahler Xizi Liu Kahlil Irving Bill Kohn (Estate) Leslie Laskey Yvonne Osei Patricia Olynyk Gary Passanise Judy Pfaff

Charles P. Reay Daniel Raedeke Tom Reed Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Shane Simmons Buzz Spector Cindy Tower Ann Wimsatt Monika Wulfers