The Artwork of Paul Nitsche

Selections from paulnitsche.com. Sculpture, Automata, Works on Paper, Illustration and Design. News and works from Southern author William Gay's Archive.

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I have been an admirer of Hi-Fructose for some time, and it is a great honor to be chosen by the magazine's editors to be featured in their Emerging Artist Showcase special insert for the Volume 42 edition. Hi-Fructose partnered with Ello to give artists such as myself this amazing opportunity. Showing on Ello's site has been fun and I have discovered many fine artists there.

Please look into purchasing an edition of Hi-Fructose Vol. 42 as it features the exquisite cover artist Tara McPherson, with Philip Jackson, Andrew Schoultz, Moon Chanpil, Monica Piloni, Matthew Grabelsky, Christian Rex Van Minnen, Mike Leavitt, and Alex Pardee. It is available at bookstores like Barnes and Noble, as well as online.

Many thanks to Ello, Attaboy, and Annie Owens.

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I am excited to announce that I will be exhibiting nineteen sculptures at the Freeport Art Museum as part of a large three person show.  Entitled Fabrication, it will also feature photographer Les Allen and assemblagist Rosalie Koldan. The show will run from May 12 to July, 2017, with an opening reception May, 12th from 5-7pm.

This will be the largest exhibition of my sculptural work to date, ranging from the early paper doll shadowbox pieces of the late 1990's to my most recent bronze, Beneath the Remnant Veil. I am truly grateful to the Freeport Art Museum for this opportunity and all the support they have given me.

From FAM's website: "The artists in Fabrication assemble an array of objects fabricating imagined and unexpected scenes. Initially, the works’ combination of elements might appear contradictory or even illogical which challenges the viewer to make sense of the unfamiliar by placing themselves within the scenes. The results are surreal-like compositions that pull at the viewers unconscious."

Very special thanks to Collections and Exhibitions Manager Carrie Baxter, Executive Director Jessica Modica, and Director of Education Barry Treu.

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Article on Ossis Fateor Memoria in Whizual

My sculpture from 2015, Ossis Fateor Momoria, is featured in an online article from Whizual Aesthetics Blog. The author of the article, Igor Stankovic, was great to work with and I appreciate his interest. Please read the article HERE.

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Figure Nineteen.- Beneath the Remnant Veil. 2009-2016. 4'h x 32”w x 5.5”d. Bronze, Wood, Resin, Acrylic, Gold leaf, Silk, Hardware. Now that it's finished, it's hard to believe this sculpture was started nine years ago. From the onset, this work was to be a blend of reliquary and anatomical display, but it went through many changes over the years. Design elements of the frame were referenced from Gothic sources, with everything sculpted and fabricated in my studio. The central figure is bronze, and is to evoke the wax anatomical models of the past. Where those displays were dissected and clean, the human object here is bulbous and nearly unrecognizable, yet it was my intention to make it elegant still. This figure, and the objects tucked within it, are remnants of something once alive and vital: earth, land, and sea.

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Little Sister Death, the first William Gay book to be published posthumously, is now out in paperback from Dzanc Books. This is one of the William Gay manuscripts that I helped edit, and I'm pleased to see it continue to be published and find new readers.

From Amazon: David Binder is a young, successful writer living in Chicago and suffering from writer’s block. He stares at the blank page, and the blank page stares back — until inspiration strikes in the form of a ghost story that captivated him as a child. With his pregnant wife and young daughter in tow, he sets out to explore the myth of Virginia Beale, Faery Queen of the Haunted Dell. But as his investigation takes him deeper and deeper into the legacy of blood and violence that casts its shadow over the old Beale farm, Binder finds himself obsessed with a force that’s as wicked as it is seductive. A stirring literary rendition of Tennessee’s famed Curse of the Bell Witch, Little Sister Death skillfully toes the line between Southern Gothic and horror, and further cements William Gay’s legacy as not only one of the South’s finest writers, but among the best that American literature has to offer.

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I am excited to announce that I will be featured with 15 other artists in a special insert section in the January 2017 print issue Hi-Fructose, a contemporary art magazine with international distribution. Along with being published, they were also kind enough to give me a $1000 artist grant.

The artists were selected from submissions through Ello, the Creators Network, and were curated by Hi-Fructose Founders & Editors in Chief Daniel “Attaboy” Seifert & Annie Owens-Seifert.

Please view all of the selected artists HERE.

Thank you so much to Hi-Fructose, Ello, Attaboy and Annie, and all the artists who reached out to me during the selection process.

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There was a sinking moment upon finishing my newest sculpture when I realized that the title and name plates just weren't working for the piece. The central image had gone through many changes, enough where the original title, "All Horizons Lost, Flesh Forever Found", didn't reflect the work any longer. The alliteration in the title always bothered me too. But my main issue with the plates were the rough clunky appearance of the castings. I had so much trouble this year with my investment molds cracking in the kiln and the bronze flashing out. I had tried my best to salvage the plates, but in the end the quality just wasn't there. Maybe over a dozen hours of work lost. After some pacing of the studio, I decided to take the time and effort to remake them. The piece was given the new title "Beneath the Remnant Veil" and new waxes were designed, again using the hearts on either side of the title plate.

The University of Wisconsin Foundry doesn't do ceramic investment, a far superior technique that would solve all of my casting issues. I've been thinking about working with someone to ceramic invest my waxes for a while now, and thought this a small enough of a project to be a test of sorts. I had the great pleasure of working with Jeff Adams and his InBronze Foundry in Illinois and will be working with him for all of my investment castings in the future. The bronzes came out beautifully, superior detail and surfaces than I was able to do.

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I recently completed a new paper doll automata, The Four Humors. There wasn't time to get finished photos before it went to the gallery, but I hope you enjoy seeing some of the building of the mechanisms.

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This is Part Two of the frame for my next sculpture. Every element has been sculpted and fabricated by myself. Referring to Gothic design and ornament, I was striving for a reliquary feel. This will be my largest piece, with a standing height of 3' 10".

Originally titled "All Horizons Lost, Flesh Forever Found", the center imagery of the piece has undergone so many changes I am renaming the sculpture. It will be now called "Beneath the Remnant Veil". I am working on the new bronze title plate at the moment.

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Part one of working on the  frame for my next sculpture. Every element has been sculpted and fabricated by myself. Referring to Gothic design and ornament, I was striving for a reliquary feel. This will be my largest piece, with a standing height of 3' 10".

Originally titled "All Horizons Lost, Flesh Forever Found", the center imagery of the piece has undergone so many changes I am renaming the sculpture. It will be now called "Beneath the Remnant Veil". I am working on the new bronze title plate at the moment.

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My latest sculpture, "The Ephemeral Knot", will be showing at the 13th Annual Regional Juried Exhibition at the Freeport Art Museum from November 11, 2016 to February 18, 2017. Thank you to Chicago's Sergio Gomez for accepting my work. Opening reception is Friday, November 11th, 5-8 PM.

The 13th annual Regional Juried Exhibition at the Freeport Art Museum features work by artists living in the tri-state region of Illinois, Iowa and Wisconsin. Created to encourage contemporary art, this show provides an opportunity for established and emerging artists to debut their latest work. The Regional Juried Exhibition continues to build momentum each year and now attracts over 200 submissions. A wide variety of media is accepted from traditional materials such as painting and sculpture to conceptual and new techniques including video, interactive media, performance and installation art. FAM has gained the distinguished reputation of displaying a wide range of contemporary art, allowing this exhibition to become a favorite amongst visitors. The invited juror selects works for inclusion and chooses recipients for cash awards for first, second and third place. Winners will be announced at the opening reception.

Exhibiting Artists:  Pamela Andros, Jean Apgar, Nick Baxter, Sara Slee Brown, Jim Davis, Doug DeWitt, Mark Dierker, Simone Doing and Max Puchalsky, Joan Geary, Sarvin Haghighi, Carol Hamilton, David Hauptschein, Eric Hazeltine, Eric Hazeltine, Kathleen Isacson, Stephen Jensen, Katsy Johnson, Yvette Kaiser Smith, Deanna Krueger, Cindy Lesperance, Bert Leveille, Judy Lipman Shechter, Bob Logsdon, Jeanne Ludeke, Benjamin Madeska, Carol Mantey, Janice Meister, Taylor Mezo, Leah Mitchell, Paul Nitsche, Paul Pinzarrone, Gina Robbins, Kathleen Roman, Kathryn Scott, Elizabeth Shriver, Dan Spahn, Frank Spidale, Rebecca Stahr, Randal Stringer, Daniel Tajlili, Linda Vietmeyer, Candace Wark and Shirley Nannini, Zachary Williams, Sandra Wilson

Juror: Sergio Gomez

Sergio Gomez is a Chicago based visual artist and creative entrepreneur. He received a Master of Fine Arts degree from Northern Illinois University. Sergio’s work has been subject of solo exhibitions in the United States, Italy and Vienna. He has participated in numerous group exhibitions in Spain, Sweden, London, Mexico and the US. His work can be found in private and public collections of the National Museum of Mexican Art, Brauer Art Museum, and the MIIT Museo Internazionale Italia Arte among other public and private collections. Currently, Sergio Gomez is the owner & director of 33 Contemporary Gallery, Curator/Director of Exhibitions at the Zhou B. Art Center, contributor for Italia Arte Magazine, Art/Design faculty at South Suburban College, Creative Consultant for Idea Seat Marketing and Advertising, co-founder of 3c Wear and co-funder of the Art NXT Level Program. His weekly Artist Next Level podcast inspires and educates contemporary artists. Sergio has curated special projects for the Chicago Park District, ArtSpot Miami International Art Fair during Art Basel Week (2013, 2014), National Museum of Mexican Art, and ExpoChicago (2014) among others.

www.sergiogomezonline.com

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I am excited to announce a special edition of Dazzling Killmen's "Face of Collapse". As some of you may know, I did the illustration and design for this release in 1994. The special edition features a new illustration by myself that is silk screened on side four of the double record set. This special edition has been in the works for some time, and I want to thank Skin Graft, Mark Fischer, and the Dazzling Killmen for making it happen.

The Skin Graft Records 25th Anniversary Release announcement:

DAZZLING KILLMEN "Face of Collapse" Special Edition Gatefold Double LP and Book / CD / Ultimate Edition - out November 11th, 2016

Order: http://www.skingraftrecords.com/shop.html Read about: http://www.skingraftrecords.com/news_desk.html Bandcamp: http://skingraftrecords.bandcamp.com

Gatefold Double Vinyl Special Edition Contents: * Brand new restoration from the original analog tapes by Blake Fleming and Jason McEntire of Sawhorse Studios (Recording & Mixing Facility). Recorded and engineered by Steve Albini.

* Second LP includes bonus tracks on Side Three: “Medicine Me”, “Poptones” (Public Image Ltd. cover) and “My Lacerations” (alternate version). Collects every studio track recorded by the quartet version of the band.

* Side Four features new artwork from cover artist Paul Nitsche silk-screened directly onto the vinyl.

* Large 16-page book, measuring 12” x 12”, with liner notes from Aaron Burgess (former editorial director of Alternative Press), a new oral history of the album from Hank Shteamer (senior editor, music, RollingStone.com) and artwork and comics from Mark Buckheit, Mark Fischer, Paul Nitsche, Miles Rutlin and Rob Syers.

* Full color Gatefold Sleeve includes removable obi with color mini-poster printed on the reverse side. Entire contents come packaged in a crystal-clear resealable overbag.

-------------------------------------------------------------------- "Ultimate Edition" includes all of the above, PLUS: --------------------------------------------------------------------

* DAZZLING KILLMEN "Face Of Collapse Compact Disc (catalog # GR12CD)

* Full Color DAZZLING KILLMEN / SKiN GRAFT Records 25th Anniversary Poster (11" x 17")

TRACK LISTING: Staring Contest / Bone Fragments / My Lacerations Blown (Face Down) / Windshear / Painless One / In The Face Of Collapse / Agitator

VINYL ONLY BONUS TRACKS: Medicine Me / Poptones / My Lacerations (alternate)

DAZZLING KILLMEN were: Nick Sakes, Darin Gray, Blake Fleming, Tim Garrigan

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Figure Seventeen.- The Ephemeral Knot 2015-2016. 7”h x 19.5”w x 10.5”d. Bronze, Wood, Resin, Acrylic, Gold leaf, Silk, Hardware.

Something akin to a Memento Mori, The Ephemeral Knot is a sculpture depicting the bridge between youth and death. The child's hand grasps a clavicle bone, the first bone to begin the process of ossification. The clavicle can be regarded as ancient in terms of the body, and here represents time's passing as well as the end of life. The red silk bow is tied around three extensor muscles: Extensor Digitorum, Extensor Digiti Minimi, and Extensor Carpi Ulnaris. These muscles, in general, function to extend the fingers and wrist. Their role here is to illustrate release, a letting go of life. The knot, or bow within this piece, represents life. The loosening of a knot could be seen as the unraveling of existence. Interestingly, the silk bow will be the first component of this piece to decay, as the rest of the materials are far more time stable. Lastly, the snail, with its coiled shell, is another reference to journey and purity.

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Several hours of gilding later, the base for the upcoming sculpture, The Ephemeral Knot, is finished. In a few days it will go to woodworker Ed Wohl, who is always kind enough to help me with the clear coat finish work.

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The primer and color layers being added to the base for The Ephemeral Knot, prior to gold leaf. Traditionally, the red oxide colored layers would be a clay bole. Instead, I use an acrylic for durability.

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The title plate for the upcoming sculpture, All Horizons Lost, Flesh Forever Found, is 13.5" long x 1.25" wide x .25" inches in it's bronze state. The length and relative thinness of the plate made it difficult to realize in metal using the techniques available to me at the foundry. My first attempt left the plate warped and twisted beyond saving. For the second try, I waxed an 1/8" piece of basswood to the back of the wax pattern plate, making it thicker and giving the pattern rigidity. I knew I would have to grind it all off later, but it made a huge difference in how the second title plate came out. As always, my apologies for the cat hair.

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The front title plate took me three tries to get a good casting, but the bronze title and name plates for the upcoming piece The Ephemeral Knot are finally done. On either side of the plates are castings of human finger bones, specifically that of a fourth proximal phalange. The bronze has been heated in a kiln up to 1100 degrees, which gives it a black patina. This is then rubbed off in areas to get back to bronze. I applied the final coats of protective finish yesterday.