Michael McGrath – Artist Statement 

Being the kind of visual artist that prefers his images unmediated and speaking for themselves, I’m reluctant to state very much -save to say that the works I present here in the Watergate are the fruits of recent efforts to return to image-making after a lengthy hiatus.

Each of the 9”x 9” canvasses is an improvisation in oil paint extracting lighter tones from under a very dark painted layer (pulling the light from out of the dark as it were), fashioning images that I would characterize as suggestively – but not explicitly – figurative (enjoy the ambiguity).

Some were very much a struggle to create, others a little less so, but it’s good to be back in the studio getting my hands dirty and enjoying the smell of freshly mixed paint on the palette. I very much hope you take pleasure from viewing this exhibit.

-Michael Mc


Larry Fogg Object Found – Artist Statement 

I decided I was going to work on calico, I was going to use powdered pigment, hide glue, wax. I started putting together a stretcher frame, the old familiar task. I had not made one in years, I had been working in wood, I had been working on paper with ink. Putting together a stretcher frame, sawing the two by one, driving the screws, stretching and stapling the fabric: I thought about this act, I thought about the object I was making.

Normally a vehicle for an image, but a beautiful object in itself. I decided to make this the subject of the work.

I would need simply an image, I would need a simple image, a heroic object at the centre of an abstract ground. I made my first piece, image created of an interior stretcher frame. I applied paint, coloured the entire object, encaustic, pigment combined with wax, but I scraped it off: as a painted object it had become a shaped painting, a canvas, a vehicle for a

painted image. I scraped off the pigmented wax with a heated pallet knife and I found beneath the object, the subject of the work: stretcher frame, stretched calico, the process, as object.

From there I found a way into adding colour, a new way of placing an object on an abstract ground. I began to sew the object into the calico, to cut the canvas and sew into it a fabric object, create the heroic image, physically sew it into place.

The subject of the work had been found, through process, through the tradition of  fabrication: the stretcher frame as object, the stretched cloth surface as object.