David Linneweh

David Linneweh

David lives in the greater Chicago Metropolitan area where he works and is the Creator of the Studio Break Podcast. He received his MFA in painting from Southern Illinois University Carbondale in (07′) and his BFA from Illinois State University in (02′). Solo exhibitions include the following: Manifest Gallery, Cincinnati, Ohio (18'); Blanden Art Museum, Fort Dodge, IA, (15'); Jan Brandt Gallery, Bloomington, IL, (13′); The Peoria Art Guild, Peoria, IL, (12′); and Centraltrak Artist Residency, Dallas, TX, (08′). Group Exhibitions: The Samek Art Museum at Bucknell University, Lewisburg, PA, (14'); St Peter Art Center, St Peter, MN, (13′); Rosemary Duffy Larson Gallery, Davie, FL, (13′); What it is Gallery, Oak Park, IL, (11′); McNamee Gallery,Saint Louis University, St. Louis, MO, (13′), The Rockford Art Museum, Rockford, IL, (12′), Brooklyn Artists Gym, Brooklyn, NY, (11′), and Manifest Gallery, Cincinnati, OH, (10′). 

He has attended residencies at Art342, Centraltrak, Osage Arts Community, The Kimmel Harding Nelson Center for the Arts, Vermont Studio Center (Full Fellowship), and Jentel. His work has been published in New American Paintings four times in (11′,07′, 05′, 03′) and his work has been collected by Richard Holland, Tom Burtonwood, Brian Redban, and Steven T. Zevitas. 

Statement

When walking through my neighborhood my mind is flooded with observations of light as it falls over homes and manicured lawns. Facades glisten with an intensity and variety of color that elicit a dreamlike state that feels nostalgic and prophetic in the same time. These suburban streets transport me in time; I close my eyes and memories of backyard barbeques, bike rides, and birthday parties in the garage fill my head. As the setting sun bathes rooftops in a warm glow, I reflect on the idea of the American Dream and wonder if its tenets are based in illusion or reality. 

My experiences in the landscape are distilled through photography, which begins my process; photos with dynamic formal qualities are then selected as the foundation of a new painting. Digital images are then carefully composed and printed to create image transfers over a wood veneer, resulting in an image that appears old and weathered. 

A layer of graphite is then applied to give definition to the edges of architectural and greenery elements, when the drawing is complete the surface is then sealed with layers of matt medium. The painting process begins by adding shapes of flat color followed by careful reflection of the paints interaction with the implied texture and faded color of the image transfer. The paintings slowly evolve over numerous sessions to create a composition that at a distance looks whole but upon close inspection is defined by flat shapes of color that sit on the surface. 

The finished paintings are formally inviting yet unresolved because they acknowledge their own physicality as paint and object that are connected to this notion of the American Dream. The visual tension in my paintings reflects the current tension within the contemporary world where working families struggle to transform dreams into reality. In this way, the paintings act as mirrors meant to evoke the viewer to meditate on these ideas. Do these works evoke faded memories or ideals, was the dream ever real in the first place, and how will our ideals mutate in the years to come?

Stephan Dobosh

Stephan Dobosh

Art New York 2018: Interview With Long-Sharp Gallery 

Art New York 2018: Interview With Long-Sharp Gallery