narangkar and painting

back in 2

2009-09-26T15:03:00.000-07:00

I could do the obvious thing and post updates on every exciting thing that happens, but I'm going to spare my audience, assuming you can probably form the picture pretty easily yourselves. I'll see you in two years.

Also, isn't it weird when an artist, or authority on art, directs to the the work of an established artist so that you can learn from it, or let it influence your work, or whatever - and you go and google it and it couldn't be more opposite from your own style, and it's actually gross and awful work?

9.12.09 - Awesome

2009-09-15T09:32:00.000-07:00

the studio right now

2009-08-31T19:31:00.001-07:00

The one on the left is Carry On and the one on the right is Shadowplay.

Upcoming Shows

2009-08-15T12:43:00.000-07:00

September 12th, 2009:

It's Gonna Be Awesome
Solo Show of New Works

Blankspace Gallery
6608 San Pablo Ave, Oakland

Today, 2009, oil on canvas, 60 x 72 inches

2009-07-15T13:21:00.001-07:00

Title: Today, 2009, oil on canvas, 60 x 72 inches
©Narangkar Glover

Eric Fischl: Scenes from Late Paradise, 2006-07

2009-06-29T10:56:00.000-07:00

Now these I like:

The Parade, 2006, Oil On Linen. 76 X 108 Inches.

The Drink, 2006, Oil On Linen. 75 X 96 Inches.

Beached, 2007, Oil On Linen. 76 X 120 Inches.

The Welcome, 2007, Oil On Linen. 78 X 86 Inches.

Stupidity, 2007, Oil On Linen. 84 X 108 Inches

Joshua Hagler & Michael Bühler-Rose

2009-06-05T12:19:00.001-07:00

I was introduced to these two artists by local curator Anuradha Vikram. The work blows me away for a lot of reasons. More of my work later this summer.

Joshua Hagler:

courtesy of Frey Norris Gallery

Michael Bühler-Rose:

Ripple

2009-05-14T00:00:00.000-07:00

I will be in a group show this saturday:

Here is a preview of my new drawings in the show:

"Ripple #1", 8" x 8", graphite on paper, 2009

"Ripple #2", 8" x 8", graphite on paper, 2009

"Ripple #3", 8" x 8", graphite on paper, 2009

"Ripple #4", 8" x 8", graphite on paper, 2009

It's Official

2009-05-11T11:06:00.000-07:00

I'm going to the University of California at Berkeley for my MFA starting this fall. So exciting!

I'm really psyched for this opportunity...

Shears

2009-04-30T11:18:00.000-07:00

"Shears", 8" x 8", acrylic, watercolor on paper, 2009.
© narangkar glover. $50

21 Grand 2009 Benefit Art Sale
Proceeds go directly to 21 Grand to help fund projects and exhibitions.

Friday, May 2nd 7pm - 11pm

welcome

2009-04-25T13:52:00.000-07:00

I want to welcome my baby niece to the world: Delilah May Fox, 7lbs 3oz 19", born April 25th 2009.

HUGS and KISSES to you!

Tinsel Tree 12" x 16"

2009-04-16T12:22:00.001-07:00

"Tinsel Tree", 12" x 16", oil on canvas, 2009

Saturday April 18th, 6:30 - 10:00pm at Giant Robot San Francisco
"TREE SHOW V"

painting-painting

2009-04-04T14:37:00.001-07:00

I don't have much of an update this week. I did just finish a painting, but don't have an image for it, so here's a link to a great painter I poached off Keith Boadwee...

Steven Hurd

and here's some more good painting:

Jules de Balincourt

John Copeland

Sunny Taylor

Duncan Knappen

As a painter, I am able to make the distinction between painting and, well, other two-dimensional work (like illustration and decorative geometry). Yet, I've not come across a much better vernacular for good painting other than painting-painting.

A good painter is neither naive, or faux, mechanical or rote. It takes years to develop a sensitivity to the materials, much less a sophistication with the subject matter. I hope that the art community can start using less sloppy definitions for painting, even though a differentiation will have to be acknowledged first.

spring oxalis

2009-03-17T14:14:00.000-07:00

...or shamrocks. Today I get to brag about being 1/8th Irish.

Here are some of the beginning stages of the big embroidery (measuring 40" x 60") that I'm working on for a show in September.

...and my yard that inspires the work. We'll be taking a weed wacker to it this saturday, but it sure is pretty for now.

Tonight we will have roasted fish and potatoes, instead of the traditional corned beef that people have on St. Patrick's day. I'm gonna try this recipe that I saw on Mark Bittman's blog a while back. Although Italian, it still seems a good fit for today.

New Work for "Regime Change"

2009-03-12T15:58:00.000-07:00

Two new paintings for the group show April 3rd at Swarm Gallery:

"It's My Life #2 (View of Pond)", 8" x 8", oil on linen, 2009

"It's My Life #3 (View of Pond)", 8" x 8", oil on linen, 2009

SoEx M.D.R.

2009-03-07T11:38:00.000-08:00

Here I am at SoEx's Monster Drawing Rally that was last Friday:

And here is my "completed" piece. I really did think I could fill the whole area with french knots in the one hour (more like 50 minutes) that we were given. Oh well, my idea didn't really pan out as I hoped. Better luck next time. It really did feel like some crazy sporting event - if you wanted to finish your piece your couldn't even really say hi to anyone or talk to them and people are looming over you, scrutinizing your every move. Plus is was hot as hell (literally, I don't think hell could be much hotter) in the Verdi Club, it was loud, and there was no time to drink. Fuck it was crazy, but I hope I can do it again next year - I'll be much better prepared... (yeah right)...

2009-02-27T09:52:00.000-08:00

Join me tonight at the Southern Exposure Monster Drawing Rally at the Verdi Club in San Francisco. I'll be making a small scale embroidery in the one hour that I'm allotted (9 - 10pm), and pete will be making drawings.

All art is priced at $60, and it's $5 to get in.

The Abigail Pett bed hanging

2009-01-20T10:58:00.000-08:00

The work that informs my own embroidery:

Abigail Pett's bed hanging, c. 1700. In the Victoria and Albert Museum permanent collection.

2009-01-15T14:23:00.000-08:00

I've been invited to contribute to a new blog called artopic.org, moderated by Oakland artist Steven Barich. It's all about keeping dialogue going...

new embroidery plans

2009-01-07T13:34:00.001-08:00

Working on plans for my largest embroidery/painting yet. First I decided on the size, 40" x 60", took more photos of the pond, did some sketches (and even some small studies, to your right) and created a layout sheet out of brown paper. Then I just started drawing ideas with charcoal because I can rub it out easily. After I decided on how I wanted the tree, I cut out a bunch of paper leaves so they'd all be uniform and started sticking them on until it became full. Here's how it looked after I put leaves:

And then I was curious to see colors on the pond, and how different shapes alter the composition, so I painted in some blue and yellow and crudely drew in some clover at the base of the tree.

So now I can trace the whole thing and get it ready to transfer on to my fabric. I'm not sure if I'm gonna use jute burlap or coarse belgian linen. Some burlaps have too wide a thread count. That's what I used for all my other embroideries, so I'm really comfortable with it, but I'm really curious to see what it'll look like on the coarse belgian linen. I guess I'll have to do a little sample or something. The most recent studies I did with grey-blue burlap. I kinda like the blue 'cause it a little like sky, but I'm not sure I want to do the big one with it. hmmm... all things to work out before even starting the embroidery. I just ordered this baby from a place in Canada:

I'm an outsider in the world of needlework. It took me a lot of different google searches to find what I was looking for, and I had to poke and prod the needlework shops to clue me in to how to do a big piece. I was just going to build my own stretcher, and got deterred really quick - I'd have to use hard wood, which, after all the rigging and manipulating, I'd wind up in the same place financially. The good thing with this one is that i can make my own scrollbars out of dowels and use it for any size project.

Saint Fabiola

2008-12-30T10:53:00.000-08:00

This past Saturday we were at LACMA to check out the Vanity Fair portraits, and were pleasantly surprised by this cabinet-type exhibit by Belgium born Mexican artist Francis Alÿs. He's amassed an astounding "junk piratey" collection of amateur paintings, needleworks, jewelries, and bean paintings depicting the Saint Fabioloa. They were hung all toghether in a slightly more conceptual format in the Medieval European art wing. These are some snuck photos from my camera phone (we liked the blue walls too):

That, plus Chris Burden's lamp post collection, really make a hoarder's day. Happy New Year!

2008-12-18T13:18:00.001-08:00

I just made an update with new work to my portfolio. Click Here

Six Tubes of Paint

2008-11-28T15:22:00.001-08:00

These are some of the colors I've been using a lot of lately. I cranked these little 6" x 6" numbers out for the holiday shows. Hope they don't disapoint.

...and then this little number is my very own Free Spirit bike.

Happy Holidays!

Fairfield Porter b.1907 - 1975

2008-11-11T18:03:00.001-08:00

I love his landscapes, but when I was flipping through his monograph at my mother-in-law's I saw a lot of compelling portraits. I'm convinced that paintings of people (in one's own surroundings and life) are always relevant and avoid trendy-ness - it's just an expression of who we are where we are. When you're a painter, it's what you do.

Bio

2008-11-01T14:41:00.000-07:00

Born: 1974

Education:
University of California Berkeley
2009-2011, MFA Candidate, Department of Art Practice

California College of Arts and Crafts
1996-1999, BFA with Distinction

Statement
I am visual artist and curator living and working in Oakland, California.

In my work I investigate personal narrative, individualism and private space. My most recent series of paintings is about the rejection of the notion of destiny, and quite literally represents where I am today as a result of personal choice.

For narrative work, I treat my memories like abstracted representations, and for each there is an appropriate visual dialogue that I aim to take advantage of. In my work I deliberately make myself aware to avoid fabricating an alternate reality with symbolism, mysticism or iconography, and rather, focus on form as my visual language.

Process-wise, the role of craftsmanship is tantamount to any sort of intellectual pursuit. It allows the pathway for materials to become ideas, and then finally, visual expression. Whatever the medium, it is important for me to keep my own hand in the process – including building supports, stretching and sizing canvas in the traditional fashion, framing my work and hand-stitching my embroideries.

Select Exhibitions

2009
Blankspace Gallery, Oakland - Solo Show, September 2009

Giant Robot, San Francisco - "Pencil Pushers", Group Show, May 2009
Swarm Gallery, Oakland - "Regime Change" Group Show, April 2009
Giant Robot, San Francisco - "Tree Show V", Group Show, April 2009
Arena 1 Studios, Santa Monica - "Fresh stArt LA", February 2009

2008
Blankspace Gallery, Oakland - "Double Exposure", Group Show curated by Kerri Johnson, November 2008
Oakland Art Gallery, Oakland - "We Are California History", Group Show curated by Maria Porges and Jo Ford, September 2008
Cowboys & Angels, San Francisco - "The Adorable Disaster" Group Show, August 2008
Swift Pigeon Studios, Oakland - "What's Up" Group Show, June 2008

2007
Rowan Morrison Gallery, Oakland - "Paint By Needle", November 2007
Paper Quilt Project, Collaborative Online Group project, October 2007
Tinlark Gallery, Hollywood - Group Show, January 2007

2006
TwentyTwo Shoes, Oakland - Solo Exhibit, September 2006 - March 2007
Harvard University, Cambridge- "Paint Chips Paintings", September 2005 - September 2006
Blankspace Gallery, Oakland - "Holidayland" December 2006

2005
Arena 1 Gallery at the Santa Monica Art Studios - "Fresh stART Los Angeles" February 12th, 2005
OTSU, San Francisco - Solo Exhibit, December 2004 - April 2005
Low Gallery, San Francisco - "The Gravy Train", November 2005
The Richshaw Stop, San Francisco - "The Final Expression!", September 2005
The Attic , Santa Cruz - “Nuevo Abo”, April 2005

2004
Buzz Gallery, Oakland - “De Profundis”, October 2004
Richmond Art Center, Richmond, CA - “Go West!” Juried Exhibition, July - August 2004
Modart, San Diego - “Keep A Breast”, July 2004
Subject Matter Gallery, Costa Mesa - “Nuevo Abo”, June 2004
21 Grand, Oakland - Group Show, May 2004
Spanganga Gallery, San Francisco - New Expressions “Spring Break”, April 2004

2003
Mojo’s, Oakland - Solo Exhibit, January-March 2003
Needles and Pens, San Francisco - “To Do List” group show, November 2003
21 Grand, Oakland - Group Show, May 2003

2002
Ardency Gallery, Oakland - “Priced To Sell”, September - October 2002
21 Grand, Oakland - “Symptom”, June 2002
Modart / Triple Five Soul, New York - “Keep A Breast”, October - November 2002

2001
Hey! Gallery, Oakland - “Blue”, March, 2001
Hey! Gallery, Oakland - Group Show, January 2001

1999
Isabel Percy West at CCAC, Oakland - "Bi-Mon-Sci-Fi-Con" May, 1999

Commissions

Touchstone Climbing GWPC, Oakland, 2008: Mural
Emmanuel Canteras, 2007: Portrait

Professional Experience

Montalvo Arts Center, Saratoga - "Young Artists in Residence" 2006, Painting Teacher
California College of Arts and Crafts, Oakland - T.A. for Animation Art taught by Laurence Arcadias

Bibliography and Publications

East Bay Express, November 2007: Review of "Paint By Needle", Jakki Spicer
San Francisco Chronicle, November 11th, 2007 Photo Credit for "Paint By Needle"
Piedmont Post, November 2007: Review of "Paint By Needle", Isabelle Ringer
Ready made Magazine, December 2007: Paint Chip Wallet feature
Making Stuff - An Alternative Craft Book, 2006: Nara Passport Holder feature
San Francisco Chronicle, December, 2005: "Green Gift Guide" featuring Paint Chip Wallets
East Bay Express, October 2004: write-up for "De Profundis" at Buzz Gallery
Kitchen Sink Magazine, 2002: photo for "Symptom" at 21 Grand
Readymade Magazine, 2003: review of Nara Paint Chip Wallets
Push Skateboard Magazine, 2002: interview with skateboarder Jessie VanRochoudt

"De Profundis" at Buzz Gallery, 2004