CHARLES CHACE

LUMEN 2012?

2012-02-04T05:45:00.000-08:00

Safe Whales, (5:57) is a 2012 video collaboration with Jesse Paddock that explores the deconstruction of tv, film credits and theme music and attempts to reconstruct contextual and emotional connections. While loosely following the film trailer format the video uses transitions, music, sound-effect cues, as well as distressed and superimposed images to create sound and image collages. The text in the work is takendirectly from the closing credits of the sitcom "Cheers" and runs through the entire piece in various forms with the exception of when the theme music from the show is playing.

Unreal Stacking With Astrays, 2012, mixed media, various sizes

2012-02-03T13:29:00.001-08:00

Videos at LUMEN

2011-05-11T07:37:00.000-07:00

My video series "My Streets Are Soft" (Tracey Emin Remembered) will be looping away at this years LUMEN an International video art and projection festival in Staten Island. LUMEN 2010 was the first international video, performance, and sound festival ever held in Staten Island and was curated by Ginger Shulick. It was held at Atlantic Salt, an industrial venue on the north shore waterfront of Staten Island. The festival was entirely outdoors, with the majority of the projections happening directly on the surface of the raw, decrepit warehouses.

This year's event is going to include indoor space as well. Here's some freehand drawings of this year's event.

2010-07-29T07:24:00.000-07:00

"Black Fixes Everything", 2010, Ink on cd cover, 4.75" x 5"

2010-07-20T08:37:00.000-07:00

This group of studies *[for the "Black Fixes Everything" project] consists of inked out record covers by various designers; Barry Feinstein, Jaon Pelosi, S. Soft, Marvin Isreal, Reid Miles, ect. The idea is simply to recreate new image dialog by voiding preexisting elements with black ink. I chose record covers for these studies not only for their design elements, but also for the preexisting text, which is also subject to selective voiding.

*The "Black Fixes Everything" project will involve the purchasing thirteen Takashi Murakami paintings. These paintings will provide the "jumped event point". I will alter/improve the paintings by going in with black ink and negating the areas I find unfortunate. This action, beside creating new image dialog, will add a living continuation that I feel lacks in Takashi Murakami's work. The project will also deal with the question of a work's "event point", an idea which was somewhat inspired from the collaboration work done by Ron Liberti and Soleil Konkel involving silkscreening and photography.

"Black Fixes Everything #1", 2010, Ink on cd cover, 4.75" x 5"

"Black Fixes Everything #2", 2010, Ink on cd cover, 4.75" x 5"

"Black Fixes Everything #3", 2010, Ink on cd cover, 4.75" x 5"

"Black Fixes Everything #4", 2010, Ink on cd cover, 4.75" x 5"

"Black Fixes Everything #5", 2010, Ink on cd cover, 4.75" x 5"

"Black Fixes Everything #6", 2010, Ink on cd cover, 4.75" x 5"

"Black Fixes Everything #7", 2010, Ink on cd cover, 4.75" x 5"

"Black Fixes Everything #8", 2010, Ink on cd cover, 4.75" x 5"

"Black Fixes Everything #9", 2010, Ink on cd cover, 4.75" x 5"

"Black Fixes Everything #10", 2010, Ink on cd cover, 4.75" x 5"

"Black Fixes Everything #11", 2010, Ink on cd cover, 4.75" x 5"

"Black Fixes Everything #12", 2010, Ink on cd cover, 4.75" x 5"

"Black Fixes Everything #13", 2010, Ink on cd cover, 4.75" x 5"

"Sunroof Heaven Series", 2010, Ink on paper, 30.5 x 22.9 cm

2010-07-20T08:23:00.000-07:00

The "Sunroof Heaven Series" continued.

"Judy", 2010, Ink on paper, 30.5 x 22.9 cm

"Boy-friend", 2010, Ink on paper, 30.5 x 22.9 cm

"Diamonds", 2010, Ink on paper, 30.5 x 22.9 cm

"Sharon", 2010, Ink on paper, 30.5 x 22.9 cm

"Dominated", 2010, Ink on paper, 30.5 x 22.9 cm

"Inhabit#3", 2010, Ink on paper, 30.5 x 22.9 cm

"I'm Blood", 2010, Ink on paper, 30.5 x 22.9 cm

"Undead", 2010, Ink on paper, 30.5 x 22.9 cm

"Wowie", 2010, Ink on paper, 30.5 x 22.9 cm

"Inhabit #2", 2010, Ink on paper, 30.5 x 22.9 cm

"TV", 2010, Ink on paper, 30.5 x 22.9 cm

"Out Of It #2", 2010, Ink on paper, 30.5 x 22.9 cm

"1893", 2010, Ink on paper, 30.5 x 22.9 cm

"Inhabit #1", 2010, Ink on paper, 30.5 x 22.9 cm

"Trash #1", 2010, Ink on paper, 30.5 x 22.9 cm

"Collusion #2", 2010, Ink on paper, 30.5 x 22.9 cm

MOCA "Optic Nerve XII"

2010-07-19T06:12:00.000-07:00

One of my videos ["Amplified Proof"] from the series entitled "My Streets Are Soft" (Tracey Emin Remembered) was selected by MOCA of North Miami's "Optic Nerve Film Festival". The screening will take place on August 6, at 7:00 and 9:00pm. http://www.mocanomi.org/optic-nerve/

"Sunroof Heaven", Charles Chace, 2010, ink on paper. 30.5 x 22.9 cm

2010-06-18T14:27:00.000-07:00

This group of drawings consists of ink on paper and is a continuation of an earlier series entitled "Tokyo Series". The eleven drawings were inspired by Tracyanne Campbell (Camera Obscura).

"Sunroof #1", 2010, Ink on paper, 30.5 x 22.9 cm

"Amy", 2010, Ink on paper, 30.5 x 22.9 cm

"Magic", 2010, Ink on paper, 30.5 x 22.9 cm

"Sunroof #2", 2010, Ink on paper, 30.5 x 22.9 cm

"Forever", 2010, Ink on paper, 30.5 x 22.9 cm

"CD", 2010, Ink on paper, 30.5 x 22.9 cm

"Sunroof #3", Ink on paper, 30.5 x 22.9 cm

"Idaho", 2010, Ink on paper, 30.5 x 22.9 cm

"Sunroof #4", 2010, Ink on paper, 30.5 x 22.9 cm

"Out Of It #1", 2010, Ink on paper, 30.5 x 22.9 cm

"Users", 2010, Ink on paper, 30.5 x 22.9 cm

"Without Bird, Magic, and MJ", Charles Chace, Painted books wrapped in plastic backed with metal. 8" x 5" - 11" x 8"

2010-06-07T11:32:00.000-07:00

The Young MJ, 2010

This series is entitled "Without Bird, Magic, and MJ" and consists of books that have been made obsolete by the application of adhesive tape and paint. The transition from useful to useless through conscious action is addressed by this treatment. The book is also decorated with collage, text, and/or a cassette tape and then concealed in a plastic sheet with metal backing. Connections can be made between the theme of the simple pre-made text: MJ, Magic, and Larry Bird (retired NBA superstars), and the book's present obsolete state. As a parallel and in contrast to these connections, the collage presents questions about its nonsensical relationship with the NBA superstars. The scarce use of sports in contemporary art compounds the nonsensical dialog invented by the convergence of these elements. Culturally understood confrontation between books and athletes is also being addressed. Concealment using plastic creates an otherworldliness and further enhances the feeling of permanent obsolescence. Although the book loses its usefulness as a tool of retrievable records when painted, it gains a folksy characteristic and thus contrasts well with the plastic covering. This new life as a useless aesthetic object could be considered a comment on contemporary art and it's intrinsic value to culture.

LB Tape, 2010

Bird Spaceouts, 2010

MJ Indian, 2010

Bird Orange, 2010

MJ Masha, 2010

Magic No Video, 2010

mj Seascape, 2010

Bird Bobby Owens, 2010

Venomous Tapes, 2010

mj Hockey, 2010

Scotch Larry, 2010

An update on my video series.

2010-06-07T11:24:00.000-07:00

Two of my videos from the series "My Streets Are Soft" (Tracey Emin Remembered) were shown at Artlab33 in May. It was part of a group show entitled "Three-by-Six" and will continue through June. Here are some more stills from the series.

"My Streets Are Soft" (Love Letters To Tracey Emin)

2010-06-04T09:31:00.000-07:00

In 2010 I created the installation "My Streets Are Soft" (Love Letters To Tracey Emin). It was exhibited at the Levy Performing Arts Center [P.A.C.] and Hippodrome Theater as a chaotic collage consisting of drawings, cassette and VCR tapes, books, photos, carved wooden knives, cigarettes, and various adhesive tapes. At the P.A.C. the collage was mounted to a faux wall I created. The installation spanned nearly of 30' and was 6' tall, nearly taking up the entire space. The gallery space at the Hippodrome Theater in Gainesville basically consisted of four unique and limiting wall shapes resulting in image and element reorganization. These changes helped me to see how meaningless the images and subject matter was to the overall organization, an idea that has forever been present in my work. The collage actually became an element, and this element was a reflection of disorganized work. I returned the installation to my studio and began to mount it to 6'x5'x4" panels. In keeping with the idea that it was nothing more that an element of disorganized work I began to consider a way to create a communicating theme that could run through it. I first decided that the panels would have to have another element of design. The center flow element works well in juxtaposition to the chaotic nature of the collage and I feel that it's 3-dimensional quality helps to emphasize the distinction. A series of linear color equations was added throughout the collage. The final step will be to glaze coat the collage element.

Installation at the P.A.C.

P.A.C.

Installation at the Hipp.

Hipp.

Back in the studio and mounting the collage to panel.

Panels.

Center design element construction.

Center Elements:

VHS.

Silver.

Carved wooden knives.

"Tokyo Series", Charles Chace, 2010, Oilstick on paper, 30.5 cm x 22.9 cm

2010-05-25T07:15:00.000-07:00

These drawings consist of images and text derived from my installation “My Streets Are Soft” (Love Letters to Tracey Emin). Isolating randomly selected images and text from the rich supply helps to further corrupt the original dialog rendering it incoherent. By limiting the number of images and colors in each drawing, I’ve created a light atmosphere which allows the text to communicate this nonsensical dialog, there by evoking the intimate and unanswerable mysteries I’m after.

Stills of Video Series "My Streets Are Soft" (Tracey Emin Remembered), 2010

2010-05-24T13:58:00.000-07:00

The inspiration of this video series centers around an immature and unrealistic desire to elicit artist Tracey Emin's attention.

Through a series of music videos ranging in duration from two to three minutes, I've tried to capture the same mysterious and incoherent dialog that occurs in my drawings and paintings. By using a limited amount of footage, quirky transitions, text, music, and sound effects, these videos pose questions and are meant to provoke emotions about the nature of art and the ridiculous ideas one can have about art.

Each short video is loosely based on traditional song writing structure with repeated clip progressions, chorus, bridges, and turnarounds. A collage is created through the use of unrelated quick image clips juxtaposed with long text flows and long clip transitions. The sound works to balance the random use of imagery with a dynamic range of music, noise, dropout silences, quirky sound effect noises, and the spoken voice of the artist. The images fluctuate between close up costume portraits, sexual situations, distressed film, color shapes, random, and dance. The process of re-recorded images from a television screen gives me the ability to limitlessly distress the image, add analog text, change size within picture frame, and adjust color. This process also allows me to accentuate the absurd inexplicable and nonsensical nature of the video's visual themes.

Drawing Series "Study For Nightly", 2009, Graphite on metal, 2'x2'

2010-05-24T13:27:00.000-07:00

This series of drawings was part of a group show title "Grit" exhibited at Calix-Gustav Gallery In Miami, during Art Basel 2009.

Drawings From 2006, "CLEVER ADDICT", Carbon on paper, 25.5cm x 22cm

2010-05-24T07:57:00.000-07:00