J.R. Mooney Galleries of Fine Art:
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Wednesday, August 10, 2016
The New Artwork of Houston Artist, Jim Hatchett!
As we continue to explore the
various articles in the new JRM Quarterly magazine, we are proud to
highlight the artwork of Houston artist, Jim Hatchett. A Viet Nam
veteran, Hatchett holds true to a time honored approach of Abstract
Expressionism.
---On June 10, 2016, The Huffington Post published an article by Michael S. Solomon titled, “10 Tips for Conveying Confidence - Fake It Till You Make It.”
The notion of faking it till you make it is neither new nor old,
neither relevant nor injudicious. In the art world it can quickly
gyrate into a contradictory poser ridden context where some artists try
climbing the academic ladder via pogo sticks. This is complemented by Glasstire’s Christine Reese in her article, “On Elitism: A Conversation.” She says, “Though
there’s a big difference between not being able to get something out of
art because you don’t understand the vernacular, versus not getting
something out of it because there’s no there there.”
We have novice artists armed with credentials from prestigious
institutions showing blue chip educations but creating hyperbolic
banality infused with an ‘art speak’ mumbo-jumbo. The contexts of the
artists’ statements and misguided purpose of intents are so convoluted
with a need to be included in the Who’s Who of the (insert choice city)
Art Fair that the artists’ execution becomes mundane; their physical
manifestations are ill-steered down a path of irrelevancy in an unstable international art market.
In this time of Instagram artists and social media narcissists, one
artist out of Houston, Texas, glides through the art world with an
unassuming haphazard attitude; one that mixes a Mother Earth-majesty
surfer aura, Namaste meditator with a Vietnam vet, and worldly
empathetic defiance producer.
Jim Hatchett, a sixty-something Abstract Expressionist artist has
been calling Texas home for most of his life. The unassuming abstract
painter was the premier dirt painter during the self-proclaimed ‘decade
of dirt’ in the 1980’s and 90’s. Now, Hatchett has evolved into one of
the leading Texas painters of our generation. The level of clarity,
tightness and development in his “action paintings” are juxtaposed with
explosive movements; Tai Chi inspired sweeps of color and intuitive
gestural marks that seem to be driven from an outer worldly phantasm of
galactic divination. Definitely not faking the expressionistic aspects
of his abstract paintings, Hatchett honors his mentors like Salvatore
Sarpitta and Normal Bluhm with his sincere renditions of 1950’s Ab-Ex
sensibilities that are true grit and glory. Bluhm worked from a model
just like William de Kooning; Hatchett works from nature like O’Keefe.
However, unlike these household names, the Houstonian now falls outside
the mainstream gallery ventures in his hometown.
Jim Hatchett’s dream is to have a one man exhibition of new
paintings at the Station Museum of Contemporary Art which would be
curated by his favorite colleague, Station Museum of Contemporary Art
Museum Director, James Harithas. Other than that, the commercial
aspects of making art do not appeal to him. His choice of friends in
this often ‘cut throat’ business reflects an ‘old school’ respectability
where there is a trusted circle of friends and that is all that
matters.
“Selling…I could care less…I can exist without selling,” says
Hatchett. “I love every one of them (the paintings) they are like
children to me. I sometimes dig them out and look at all of them and
think ‘Jesus, how did I do that?’ They all are magnificent masterpieces
in my eyes…and that’s all I care about.”
“Everything I am looking for, I get in the making of the painting;
all the joy, all the fulfillment…it comes to me when I am creating them.
Sales would be nice, but I don’t need them,” he goes on to say.
From 1968-69 Jim Hatchett served in Vinh Long, Viet Nam. “I missed
the Summer of Love,” he says. “I was there (in Viet Nam). However, both
his main mentors are also vets; Norman Bluhm and Salvatore Scarpitta
both served in WWII. But, Hatchett does not use the art as therapy for
PTSD as some returning veterans have.
“In 1978, I was at U of H (University of Houston) and Salvatore
Scarpitta was brought in for an art and teaching residency for one year.
Us students were able to paint alongside him for this big mural that I
think last time I heard was in storage at the Museum of Fine Arts,
Houston, but I imagine it still belongs to U of H. Sal would have us
mix up these paints and say, dab it here, spread it here, drip it here.
We were excited to do that,” Hatchett said.
Over the next ten years Hatchett would go on to gain regional
attention in the 80’s with exhibitions at some well-known galleries in
Houston. However, leading into the 90’s he began to limit his color
palette and change from traditional painting mediums to dirt, sand,
rocks, and sticks (Mother Nature). Always an avid outdoorsman, Hatchett
would make a yearly pilgrimage to Big Bend National Park. This was his
psychologically cleansing journey to purify himself. He became more and
more inspired by the world, by this mystical place. Inevitably, his
art began to reflect the supernatural elements of Big Bend. Hatchett
began creating oversized “paintings” that were reflective of Tibetan
sand mandala paintings. The meditative tapping and sifting of sand onto
panels created an energy that Hatchett could not capture in his
previous work. His solo exhibition at the Station Museum of
Contemporary Art in 2003 titled, “A DECADE OF DIRT” showcased ten years
of this series. In the exhibition catalog, museum curator Tex Kerschen
writes: “These paintings do more than invoke transcendent states…they
are as bound to ecology as they are to aesthetics.”
“The Station showed ten years of that work, but I really explored it
for twelve,” he says. “I felt like when the show came down, it was the
end of the run for that series...I was bound to greys and browns for 12
years. I was ready to explode into color and really paint!”
After leaving his job within the museum administration at the Art
Car Museum, a folk art institution in Houston dedicated to the urban
phenomenon of Art Cars, Hatchett started a new journey. “Not working a 40 hour work week was a big shock to me. I did not
know what to do with myself…I was lost, or in mild shock…, so I started
painting and have not stopped. I paint from the time I get up to the
time I go to bed. This last year I bet I have painted 200 paintings,” he
says.
In talking about his new Ab-Ex work, Hatchett says he has known,
friended, and painted alongside the “real deal.” He knows what goes
into making traditional Abstract Expressionistic work, and it shows.
“There is only one way to do it,” he says. “Fast. You can’t
nit-pick, you can’t slow down, you can’t think about it. It’s pure joy,
its pure ecstasy; my paintings are the residue of that joy. I think I
intuitively respond to the paintings on an unconscious level…whether I
am channeling some universal energy or some other thing, I don’t know.
I lose track of time when I am in the zone creating. I skip meals and
soon its hours later than when I started. Three hours feels like 10
minutes.”
One of the new paintings from 2016 titled “Flashing the Plasma,” a
40” x 32” acrylic on illustration board, is a wonderful example of
Hatchett’s ‘explosive’ energy as he delivers a lyrical composition with
sweeps, scraps, drips, dabs, rubs and wisps that resonate with a
seductively robust energy; a visual two-dimensional concubine that wants
to engulf the viewer in a whirlwind of cosmic thrusts.
“Shed Luster,” a 40” x 32” acrylic on illustration board, is a
complex and multifarious arrangement of color bands scraped down to
minimal pigments that deliver evidence of some violent and swift attack,
stealing the impasto off the painting. In the process of scraping the
paint away, Hatchett pushes the remainder of that color into the layer
below. Reds mingle with blues in a forced and arranged marriage kind of
way. We sense cohesion of the underneath resisting the traumatic
suppression of the artist. Hatchett leaves pockets or windows to the
unaltered deposits below. We see the strata of color as celestial
bursts. Hatchett shows us artist-driven violence juxtaposed with a
heavenly aura brooding and simmering like a NASA-esque image of
nebulae.
Jim Hatchett’s paintings are pure and unaltered interstellar energy
put down on canvas, paper and board; light years beyond the fakers and
makers.
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