Author: philippepirrip

–paint–blobs–queer–plastic– (2016), MAC Gallery, Wenatchee Valley College, Wenatchee, WA

| philippepirrip
Medium: Latex-enamel paint, thread, lace, zipper, polyurethane, Washington soil, mini Galium plant
Medium: Latex-enamel paint, thread, lace, zipper, polyurethane, Washington soil, mini galium plant
Medium: poured latex-enamel paint, cardboard apple trays, grass, dirt/soil, LED grow light, water
Medium: poured latex-enamel paint, cardboard apple trays, grass, dirt/soil, LED grow light, water
Medium: poured latex-enamel paint, cardboard apple trays, grass, dirt/soil, LED grow light, water
Medium: poured latex-enamel paint, yarn thread, fabric, bags of top soil, sprouting potato, cellophane, water
Medium: poured latex-enamel paint, yarn thread, fabric, bags of top soil, sprouting potato, cellophane, water
Medium: poured latex-enamel paint, yarn thread, fabric, bags of top soil, sprouting potato, cellophane, water
Medium: poured latex-enamel paint, yarn thread, fabric, bags of top soil, sprouting potato, cellophane, water
Medium: Latex, poured latex-enamel paint, fabric (jersey), polyurethane, dirt, plant, thread, rubberband water
Medium: Latex, poured latex-enamel paint, fabric (jersey), polyurethane, dirt, plant, thread, rubberband, water
Medium: Poured latex-enamel paint, “sushi” grass, cardboard apple trays
Medium: Poured latex-enamel paint, PlexiGlas, cast acrylics
Medium: poured latex-enamel paint, plastic, clear tar-gel
This show, –paint–blobs–queer–plastic–, is a kind of teleological exploration of paint, its nature, and its relation to nature. Expanding from and further developing my earlier concepts based on queer theory and construction of identities through paint-made objects, this new body of work confronts and juxtaposes the synthetic, plastic, and artificial nature of paint with vegetation. Introduction of this “natural” element momentarily disrupts the sterile, plastic, shiny surface of paint, providing a sense of peculiarity and queerness, much like seeing grass growing between cracks in concrete pavement. It shows us how much and how far we have come to change the environment and how we perceive that change, how quickly and easily we accept it as nature or being natural. Reflecting on these questions and ideas, I would like to present paint and paint-made objects in a more “natural” setting, a transitory moment for viewers to see these paint blobs as “artifacts/artificial objects that resemble nature/nature-made things” into experiencing them as “objects of artifactual earth that exist in nature.”

Small Blubbers Series (2016)

| philippepirrip
Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016
Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016
Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016
Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016
Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016
Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016
Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016
Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016
Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016
Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016
Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016
Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016
Small Blubber Series is composed of twelve framed anomalies made from controlled mixtures of different latex enamel paints, determined by varied levels of binder-pigment ratio in the paint. Conceptually, it is an exercise of reverse reading/pre-posterous reflection on interpretive process of my visual work. Through this series, I am subconsciously referencing and recollecting the sentiments and sensibilities experienced from Bataille’s writings, namely, Solar Anus. With his “abject” writings and my recurring recollection of “imageries” from the story, a schematic rendering was formed subconsciously and informed in retrospect: “some oblong-shaped cellular thing capable of recalling something celestial, something vaginal, penile, and anal, made out of something that resembles bodily fluids and secretion that churned up quickly.” The materiality of found discarded objects and that of paint, canvas, lace, and etc. accompanied by the merging of domestic craft practice and studio practice in order to arrive at a “hand-made” view of suggestive eroticism of the body and of the flesh, juxtaposed with the “already-ready-made” view of plasticity and immediacy had by post-industrial products. The directness in recognizing the post-industrial products like the plastic frame rarifies the experience of seeing painting, much less a blob of paint, as painting.

Whiskey Ginger Shirley Temple: MFA Thesis Exhibition (05.26.2016 – 06.12.2016)

| philippepirrip

 

Medium: Poured Latex Enamel Paint on Plastic Size: 16’ x 11’ x 4’ (install dimension) Year: 2016
Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016
Medium: Mixed Media Installation Size: dimension varies Year: 2016
Medium: Poured Latex Enamel Paint on Corrugated Plastic Sheet in Cast Acrylic and Plexiglas Size: 26’’ x 30’’ Year: 2016
Medium: Poured Latex Enamel Paint in Plexiglas and Cast Acrylic Size: 26’’ x 30’’ Year: 2016
Medium: Fishnet Stocking, Expanding Foam, Latex Enamel Paint, Acrylic Paint and Medium, Spray Paint, Plexiglas, Polycarbonate Rod, and Wood Size: 4’ x 4’ x 2’ Year: 2016
Medium: Expanding Foam, Thread, Leggings, and Paint-dipped Dowel Rods Size: 48’’ x 50’’ x 12’’ (install dimension) Year: 2015-2016
Medium: Fishnet Stocking and Expanding Foam Size: 5.5’’ x 7’’ x 6’’ Year: 2016
Medium: Fishnet Stocking and Expanding Foam Size: 14’’ x 12’’ x 6’’ Year: 2016
Medium: Donated Brassieres, Thread, Poured Latex Enamel Paint, and Painted Thumb Tacks Dimension: 14′ x 12” (install dimension) Year: 2016

Queer 2.0

| philippepirrip
Medium: Clay and Latex Enamel Paint on Plastic Dimension: 25” x 19” x 2” Year: 2015
Medium: Latex Enamel Paint and Thread on Canvas Dimension: 27” x 28” Year: 2015
Medium: Latex Enamel Paint on Plastic Dimension: 30” x 24” Year: 2015
Medium: Latex Enamel Paint, Cellophane, and Plastic on Linen Dimension: 36” x 28” Year: 2016
Medium: Latex Enamel Paint, Acrylic Paint, Gesso, and Pins on Polystyrene Foam Board Dimension: 16” x 15.5” x 2” Year: 2015
Medium: Latex Enamel Paint and Expanding Foam on Canvas Dimension: 29” x 21” x 3 Year: 2015
Medium: Latex Enamel Paint on Polystyrene Foam Board Dimension: 22” x 15” x 2.5” Year: 2015
Medium: Latex Enamel Paint and Thread Dimension: 6” x 6” x 2.5” Year: 2016
Medium: Latex Enamel Paint, Saifun Bean Thread Package, Expanding Foam, Spray Paint, Thread, Peanut Butter, Sandpaper on Plastic Dimension: 17” x 19” x 14” Year: 2016
Medium: Latex Enamel Paint, Thread, Pantyhose, Expanding Foam, and Contact Cement Dimension: 9” x 11” x 6” Year: 2016

Queer (2015)

| philippepirrip
29”x23”, poured latex enamel paint, blueprint map, corrugated plastic sheet
36”x24”, poured latex enamel paint, clear tar gel, plastic sheet
54”x44”, poured latex enamel paint, thread, curtain cord, canvas, and a stud earring
Medium: Latex Enamel Paint, Tar Gel, Polystyrene Foam, Pins Dimensions: 28″ x 27″ x 3″
Medium: Latex Enamel Paint, Lace, Thread, Canvas Dimensions: 25″ x 26″ x 0″
Medium: Mixed Media Paint Collage Dimensions: 30″ x 30″ x 0″
Medium: Oil, Acrylic, Asphalt Tar, Lace, Kevlar Thread on Canvas Dimensions: 60″ x 44″ x 2.25″
Medium: Oil, Acrylic, Rubber band, Thread on Canvas Dimensions: 56″ x 40″ x 2.25″

With a drop of paint (2015): MFA Mid-Thesis Exhibition

| philippepirrip
With a drop of paint
Philippe’s MFA Mid-Thesis Exhibition
February 9 – 19, 2015
Gallery 231, Randall Hall, Central Washington University, Ellensburg, WA
Title: Paint-made view: 7 Dimension: 28’’ x 25’’ Medium: Acrylic Paint, Tar Gel, Latex Enamel Paint, Thread, Scrap Tarp Year: 2015
Exhibition Statement 1
Title: Paint-made view: 1, 2, 3 Dimension: 16’’x 13’’, 16’’x13’’, 16’’x 15’’ Medium: Mixed-Media Paintings Year: 2015
Paint-made view: 1 Dimension: 16’’x 13’’, Medium: Acrylic Paint, Oil Paint, Latex Enamel Paint, Thread, Zipper Year: 2015
Paint-made view: 1 (Detail)
Paint-made view: 2 Dimension: 16’’x 13’’, Medium: Acrylic Paint, Tar Gel, Wallpaper, Latex Enamel Paint, Resin, Grommet Year: 2015
Paint-made view: 3 Dimension: 16’’x 15’’, Medium: Acrylic Paint, Tar Gel, Scrap Papers, Latex Enamel Paint, Found Object, Thread, Clip Year: 2014
Paint-made view: 6 Dimension: 15’’x 15’’, Medium: Acrylic Paint, Tar Gel, Post-It, Latex Enamel Paint, Mesh, Thread Year: 2015
Paint-made view: 4 Dimension: 36’’x 24’’ Medium: Acrylic Paint, Tar Gel, Latex Enamel Paint, Rubber Bands, Thumbtags Year: 2015
Paint-made view: 8 Dimension: 16’’x 16’’ Medium: Latex Enamel Paint, Sewing Pins Year: 2015
Paint-made view: 9 Dimension: 30’’x 28’’ Medium: Latex, Latex Enamel Paint, Fabric, Thread Year: 2015
Paint-made view: 5 Dimension: 15’’x 15’’ (flat), 7”x 3.5” x 6” (as shown) Medium: Acrylic Paint, Tar Gel Year: 2015
Paint-made views: 11, 12, 13 Dimension: 55’’ x 40’’ x 2.25’’ (Each) Medium: Mixed-Media Paintings Year: 2015
Paint-made view: 11 Dimension: 55’’ x 40’’ x 2.25’’ Medium: Oil and Litho Ink on Canvas, sides wrapped with yellow fiberglass tape Year: 2015
Paint-made view: 12 Dimension: 55’’ x 40’’ x 2.25’’ Medium: Oil, Litho Ink, Gouache, Polyacrylic Urethane, Plastic Tarp on Canvas, sides wrapped with yellow fiberglass tape Year: 2015
Paint-made view: 13 Dimension: 55’’ x 40’’ x 2.25’’ Medium: Oil, Charcoal, Conté Crayon on Canvas, sides wrapped with yellow fiberglass tape Year: 2015
Paint-made view: 10 Dimension: 24’’x20’’ (Top), 12’’x10’’ (Bottom) Medium: Latex Enamel Paint, Tar Gel, Oil Paint, Polyurethane, Floor Buffer Year: 2014
Paint-made view: 10 (Detail)
Paint-made view: 14, 15, 16 Dimension: 12’’x12’’, 12’’x12’’, 12’’x12’’ Medium: Sharpie, Encaustic and Resin on Wood Year: 2014
“With a drop of paint” Installation view: 1
“With a drop of paint” Installation view: 2
“With a drop of paint” Installation view: 3
Exhibition statement: 
It all started with a drop of paint on the floor.
How curiously odd, round, gooey, shiny, blobby, rubbery, and familiar that misplaced droplet looked. It sat very determinedly on the ground along with all the other bumps, cracks, and scratches. It took on its own existential desires and figure-ground relations while humoring my eyes with its queer beauty. The droplet already embodied a sense of other-worldliness I tried to reimagine by pushing paint around. The question of what to paint seemed to matter less after that encounter; it was up to me to give the droplet a structure.
It is not about something particular. 
It is a simulation, weaved in layers and references.
A painting is a paint-made view — an always simulated view that weaves the physical world around and within on the same plane. On it, paint is the figure and the ground, whether it is on a wall, on a canvas, or on its material self. The texture of the paint-made surface then can be perceived as an extension of a physical reality (internal and external) and of an already-simulated space (experience), connecting through a sense of touch. Constructed upon systems of signification, self-referentiality, and differences, paint takes on the form of an interpretative tool in order to give shape to sensible yet invisible thoughts. Ambiguously structured in its form and content, a painting acts as a figure grounded in meaning and also as a ground on which the meaning resides. Affecting and affixing the seeming duality with layers and references, a painting simulates its capacity to not only enhance the perceivable world but also introduce another by generating its own meaning.
In simulation, I zoom into the drop of paint and thread it as a paint-made view in the effort to see how it sees.