The ever-vivid and engaging paintings of Maryland-based artist Charlie Immer (HF Vol.11) are brought to us in a slightly new form with his latest body of work, entitled ‘Bone Jiggle’. In these new oil paintings, the artist makes a few key moves in an effort to evolve his explorations into the realm of melding humor and curiosity with the grotesque.
With these new works, we see Immer move from the blood-bathed scenes from recent offerings. And while still maintaining his original sense of deconstructing the internal, he loosens up the more rigid inner workings of the creatures. The subjects’ skeletal structures have relaxed and the artist now seems to concentrate more on chasing his own personal vibrations of melding what lies beneath with the luscious smoothness of their candy-coated and happily macabre dimension. Join us as Charlie Immer talks a little about his new works with Hi Fructose, on view at Roq la Rue from October 14 – November 5, 2011. – Nathan Spoor
When I paint there is this feeling that I am chasing. There is a warm vibration I get when I know I am on the right track. My new work is giving me those vibes more than anything I have done before. These paintings are an evolution of my prior work. I’m bringing many new elements and characters into the mix. The “skeletons” have lost their rigidity. I’ve also drained the blood from my world for the time being.
What’s the biggest influence or influences on your work and life?
I’m largely influenced by exploration of the intricacies of what lies beneath the skin, that along with delicious candy. I really enjoy the rivalry of sugar and bone. Though I’m not entirely sure if the creatures in my work are made of candy or just in possession of some of its properties.
Are you reading anything interesting or watching anything of interest lately?
I just watched the hilariously grotesque finale of Breaking Bad. I thought it was great. The movie, Enter the Void, really threw me for a loop. It has some really mind boggling opening credits. Also Sleuth from 1972 made my cheeks hurt I was grinning so hard.
This work in particular is for a gallery exhibition. Do you find the paintings you make for public consumption on a schedule to be any different than something you would make for your own personal pleasure?
I find that when I do an exhibition like this I do a lot more planning. I choose a theme and do a lot more sketching. I am lucky enough to be able to show the public the work that I do for personal pleasure.