Darrell Nettles
Emily Dickinson
Darrell Nettles Emily Dickinson
2019
Emily Dickinson I have been making paintings from poetry by Shakespeare and other poets for many years now. This past year I settled in with Emily Dickinson, reading certain of her poems every day. I recite them as I work in the studio, go about my day, and fall asleep at night. The poems have become good friends. In addition, I continue reading The Complete Poems of Emily Dickinson. Each time I read them I feel that I am reading them anew. My understanding of her poems evolves as I learn more about her and keep discovering more about myself. The pleasure of reading these poems has the subtext of looking for my next painting. When a poem grabs me, the process of turning a poem into a painting begins. My Emily Dickinson creations are abstract, coded, multi-layered structures painted over the words of her poems. I break her text into visual patterns by assigning colors to certain letters. I select some of her words to express my feelings about her poems, and I use symbols to add yet another layer of meaning. I love sharing Dickinson’s poems with my friends and hope these paintings encourage others to find the spirit of her poetry for themselves. Darrell Nettles NYC, 2019
Sleep is supposed to be By souls of sanity The shutting of the eyes. Sleep is the station grand Down which, on either hand The hosts of witness stand! Morn is supposed to be By people of degree The breaking of the Day. Morning is not occurred! That shall Aurora be – East of Eternity – One with banner gay – One in the red array – That is the break of Day! —Emily Dickinson, 1858
“Emily Sleeping” 2018 (right) acrylic on paper, 30” x 22”
The Daisy follows soft the Sun And when his golden walk is done – Sits shyly at his feet – He waking – finds the flower thereWherefore Marauder – art thou here? Because, Sir, love is sweet! We are the Flower – Thou the Sun! Forgive us, if as days decline – We nearer steal to Thee! Enamored of the parting West – The peace – the flight – the Amethyst – Night’s possibility! —Emily Dickinson, 1859
“Thou the Sun” 2018 (right) acrylic on paper, 30” x 22”
Some keep the Sabbath going to Church – I keep it, staying at Home – With a Bobolink for a chorister – And an Orchard, for a Dome – Some keep the Sabbath in Surplice – I just wear my Wings – And instead of tolling the Bell, for Church, Our little Sexton – sings. God preaches, a noted Clergyman – And the sermon is never long, So instead of getting to Heaven, at last – I’m going, along. —Emily Dickinson, 1860
“Sexton Sings” 2019 (right) acrylic on paper, 30” x 22”
“Heaven” – is what I cannot reach! The Apple on the Tree – Provided it do hopeless – hang – That – “Heaven” is – to Me! The color, on the Cruising Cloud – The interdicted Land – Behind the Hill – the House behind – There – Paradise – is found! Her teasing Purples – Afternoons – The credulous – decoy – Enamored – of the Conjuror – That spurned us – Yesterday! —Emily Dickinson, 1861
“Behind the Hill” 2019 (right) acrylic on paper, 30” x 22”
The Spider holds a Silver Ball In unperceived Hands – And dancing softly to Himself His Yarn of Pearl – unwinds – He plies from Nought to Nought – In unsubstantial Trade – Supplants our Tapestries with His – In half the period – An Hour to rear supreme His Continents of Light – Then dangle from the Housewife’s Broom – His Boundaries – forgot —Emily Dickinson, 1862
“Supplants Tapestries” 2019 (right) acrylic on paper, 30” x 22”
Of all the Souls that stand create – I have elected - one – When Sense from Spirit – files away – And Subterfuge – is doneWhen that which is – and that which was – Apart – intrinsic – stand – And this brief Drama in the fleshIs shifted – like a Sand – When Figures show their royal Front – And Mists – are carved away, Behold the Atom – I preferred – To all the lists of Clay! —Emily Dickinson, 1862
“Behold the Atom” 2019 (right) acrylic on paper, 30” x 22”
Split the Lark – and you’ll find the Music – Bulb after Bulb, in Silver rolled – Scantily dealt to the Summer Morning Saved for your Ear when Lutes be old. Loose the Flood – you shall find it patent – Gush after Gush, reserved for you – Scarlet Experiment Sceptic Thomas! Now, do you doubt that your Bird was true? —Emily Dickinson, 1864
“Saved for your Ear” 2019 (right) acrylic on paper, 30” x 22”
These are the Signs to Nature’s Inns – Her invitation broad To Whosoever famishing To taste her mystic Bread – There are the rites of Nature’s House – The Hospitality That opens with an equal width To Beggar and to Bee For Sureties of her staunch Estate Her undecaying Cheer The Purple in the East is set And in the North, the Star —Emily Dickinson, 1866
“Nature’s House” 2019 (right) acrylic on paper, 30” x 22”
The spry Arms of the Wind If I could crawl between I have an errand imminent To an adjoining Zone – I should not care to stop My Process is not long The Wind could wait without the Gate Or stroll the Town among. To ascertain the House And is the soul at Home And hold the Wick of mine to it To light, and then return – —Emily Dickinson, 1866
“To Light then Return” 2018 (right) acrylic on paper, 30” x 22”
As Summer into Autumn slips And yet we sooner say “The Summer” than “the Autumn.” lest We turn the sun away, And almost count it an Affront The presence to concede Of one however lovely, not The one that we have loved – So we evade the charge of Years On one attempting shy The Circumvention of the Shaft Of Life’s Declivity —Emily Dickinson, 1875
“Life’s Declivity” 2018 (right) acrylic on paper, 30” x 22”
The butterfly obtains But little sympathy Though favorably mentioned In Entomology – Because he travels freely And wears a proper coat The circumspect are certain That he is dissolute – Had the homely scutcheon Of modest Industry ‘Twere fitter certifying For Immortality —Emily Dickinson, 188?
“Travels Freely” 2019 (right) acrylic on paper, 30” x 22”
Bio Born Richmond, Virginia, October 27, 1948 Education 1967-68 Architecture, University of Florida, Gainesville, Fla. 1971-72 Printmaking, Art History, Psychology, BFA, U of F 1974-75 Painting, Master’s Program, Georgia State University, Atlanta, Ga.
Solo Exhibitions 1995 1996 1996 1998 1999 2000 2006 2015
Corriente Alterna, Lima, Peru, Tétradas Patterns, J. J. Brookings Gallery, San Francisco, California O. K. Harris Works of Art, New York, Woven Canvas O. K. Harris Works of Art, New York, The Endless Line La Segunda Iberoamericana Bienal de Lima (Instituto Cultural Peruano Norteamericano) Instalación de Tétradas O. K. Harris Works of Art, New York, Tetrads Robert Steele Gallery (The Project Room) New York, Standard Measure Paintings Thomas Jaeckel Gallery, New York, Broken Verse
Group Exhibitions 1978 1979 1980 1981 1982 1983 1984 1985 1986 1992 1993 1994 1995 1999 2000 2004 2005 2008 2014 2015 2016 2017
File 3/13, Hansen Gallery, New York Small Works, NYU Gallery (Juror: Ivan Karp), New York Inaugural Group Show, Semaphore Gallery, New York Four Painters, Soho Center for the Visual Arts, New York Sixteen Painters, Semaphore Gallery, New York The Working Process, Dept. of Cultural Affairs, Columbus Circle Gallery, New York The Fourth of July, Public Image Gallery, New York Recent Acquisitions, Aldrich Museum of Contemporary Art, Ridgefield, Conn. Painting in Photography, Daniel Wolf Gallery New York The Famous Show, Gracie Mansion Gallery, New York Beyond the American Standard, Gracie Mansion Gallery, New York Small Works, Amherst College, Mass. Terminal New York, Brooklyn, NY Exposition Ete, Maximillien Guiol, Paris, France Gracie Mansion Presents..., Kamikaze, New York Lower East Side Polygon, Danceteria, New York Drawings into Paintings, Gallery 411/12, New York New Talent, Harm Bouckaert Gallery, New York Site-Specific Sculpture, Greathouse Gallery, New York Sculpture, Civilian Warfare Gallery, New York, Contemporary Triptychs, Bard College, Annandale-on Hudson, New York Painting into Photography, Thorpe Intermedia Gallery, New York New Summer, Pietrasanta Gallery, New York Abstraction, Greathouse Gallery, New York Group, D’Kada Gallery, Madrid, Spain Crosscurrents, Step Gallery, New York Salon, Tribeca 48 Gallery, New York Hospice, Cabrini Medical Center, New York Small Works, NYU Gallery (Juror: Jackie Littlejohn), New York Review, O. K. Harris Works of Art, New York Small Works, NYU Gallery (Juror: Tricia Collins), New York Selection, O. K. Harris Works of Art, New York Summer View, Robert Steele Gallery, New York O.K.Harris Works on Paper, Andrews University, Berrien, Michigan Artists’ Choice, Noho Gallery – M55 Art, New York Miami Basel, Thomas Jaeckel Gallery, Miami, Florida Winter Salon, Thomas Jaeckel Gallery, New York Winter Salon, Thomas Jaeckel Gallery, New York
Catalogues/ Newspapers/ Periodicals 1981 1982 1983 1984 1995
New York Times, “The working process”, Grace Glueck, April 17 The Working Process, Organization of Independent Artist Essay by Henry Geldzahler, New York Flash Art, Nicholas Moufarege, November Arts Magazine, Nicholas Moufarege, September Southern Accents, summer, p.48-49 New York Times, “The camera’s role as tool is growing”, William Zimmer, April 22 Contemporary Triptychs, Bard College, New York Small Works, University of Massachusetts Press, Amherst, Ma. Caretas, “Tétradas”, Luis Lama, November 9, p.49, Lima Peru Gestión, “Geometría precolombiana en pintura de artista norteamericano”,
1998 1999 2000 2010 2014 2015
November 2, p.2/B El Comercio, “Darrell Nettles, la espiritualidad del pasado”, November 2, p.8/C Expreso, “Darrell Nettles, un artista norteamericano en Corriente Alterna”, November 2, p.3/B Darrell Nettles, The Continuous Line, with an Essay by Donald Kuspit O.K. Harris Works of Art, New York Expreso, “Darrell Nettles, El balance del blanco y negro”, Ketty Cadillo, October 30, p.4/B La Segunda Iberoamericana Bienal de Lima Municipalidad Metropolitana de Lima, Peru New American Paintings, #26, Juror: Terrie Sultan The Open Studios Press, Wellesley, Ma. New American Paintings, 15th Anniversary Edition The Open Studios Press, Wellesley, Ma. Artist’s Choice, Gallery artists choose guest artists Noho Gallery – M55 ART The Wall Street Journal, Peter Plagens, November 20, A18
Commissions/Projects/Grants 1982 1983 1990 1991
Egon Schiele, A play by Stephan Fechter, New York Windows, Art installation commissioned for Bergdorf Goodman, New York Faultline, Art commissioned for a play by Morgan Jennes, New York Adolph Gottlieb Foundation, New York
Collections - Museums
Aldrich Museum of Contemporary Art, Ridgefield, Connecticut Arkansas Art Center, Little Rock, Arkansas Centro de Artes Visuales, Lima, Peru Museum of Modern Art (Národní Galerie), Prague, Czech Republic Marifí Plazas Gal Collection, Museo Regional de Arte Moderno, Cartagena, Spain
Collections - Corporate, Miscellaneous
Analysis Group, Chicago, Illinois Anderson-Cook, Inc., Detroit Michigan Bank of America, San Francisco, California Banque Nationale de Paris, Paris, France Cabrini Medical Center, New York City of Chesterfield, Missouri Cooley Godward Kronish LLP, Boston, Massachusetts Corriente Alterna, Lima, Peru Dean Witter Company, New York Escarpenter, Barcelona, Spain Exxon/Mobil Oil Collection, Hamburg, Germany Farer Fersko, Westfield, New Jersey Galetea’s Art Collection, St. Helena, California Greensfelder, Hemker & Gale, PC, St. Louis, Missouri Harvard School of Business, Cambridge, Ma. Wynn Kramarsky Collection, New York KrasnePlows, New York Legorburu, Palma de Mallorca, Spain López-Mayordomo Collection, Valencia Marcus W. Stroh Collection, Mayorca Lewis, Rice Fingerush, Attorneys at Law, St. Louis, Missouri Missouri State Bank, St. Louis, Missouri National Reinsurance Corporation, Stamford, Connecticut Needham, Harper and Steers, New York Pfizer, New York Sunoco Oil Corporation, Philadelphia, Pennsylvania Swissre Corporation, New York University of Arkansas, Jonesboro, Arkansas Westwood Studios, Las Vegas, Nevada Wilmington Trust Company, Wilmington, Delaware
Darrell Nettles www.dnettles.com