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David Brock graduated from University of Northern Colorado with a BFA in Painting and Drawing and received an MFA in 2D Studies from Bowling Green State University in Bowling Green, OH. David currently is the Painting and Drawing Professor at Sheridan College in Sheridan, WY. Previously, he taught in the University of Wisconsin - Eau Claire, the University of Wisconsin - Stout, and the Bowling Green State University art departments. He has also been the Gallery Director of the Janet Carson Gallery at the Eau Claire Regional Arts Center, WI. Happily, David has studied, lived and taught in Fukuoka, Japan, and Florence, Italy, along with extensively traveling abroad. He has been graciously invited to participate in artist residencies at the Ucross Foundation in northern WY and at Petrified Forest National Park in Arizona. David’s work has been exhibited nationally and internationally in both group and solo shows. Currently David lives in a 1960s ranch house with his wife, Claire, their two wonderful children, Lucy and Max, and their dog, Pixie Black Francis, at the foot of the Bighorn Mountains.
All the paintings in this exhibit at SAGE Gallery, Place to Place, are from actual places I have spent time with, either significantly or fleetingly. These places range from the culturally significant to those that are overlooked or unnoticed. I have zoomed in on the forms I find interesting, usually a structure I find that speaks about the whole, that alludes to that feeling I had when I was there. I edit what I see as clarification. Things are changed, removed, or added. Colors can be illustrative of the area, but tend to be about my feelings towards my time there. Drawing has always been a major component of my work and still is. It is fundamental to how I work with color, as it is the structure that I “hang” the sheets of colors on, where they are able to be individual elements within the piece, not truly interacting with their neighbors. The prevalent drips are used to bridge these black lines and stitch the disparate pieces back together. I use patterns to flatten the paintings, to make them read more as “art” than as a realistic depiction of a place. These tend to be polka-dots, a reference to the Ben Day dots associated with cheap printing.
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