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Artist Statement:
"My statement IS the work."
Awodey received his MFA from
Cranbrook Academy of Art in
1984. Hundreds of his works
are in private collections
around the USA. Awodey lives
in Burlington, Vermont- one of
the most active arts enclaves
in in North America. He
teaches fine arts at
Burlington College...
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Artist Exhibitions:
2008... Vermont Supreme Court
building, solo show,
Montpelier, VT;
2007... B-Mori San Francisco,
CA, group show; Burlington
College solo show; Community
College of Vermont solo show
Burlington,VT;
Vermont Community Access Media
group exhibition Burlington,
VT group;
2006... Bonham & Butterfield,
Los Angeles, CA invitational
AVA Gallery Lebanon, NH solo
...
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Collections:
The Vermont Statehouse,
Montpelier, VT
MV Transportation, Fairfield,
California
Mr. & Mrs. Seymour Preston,
Bedford Hills, NY
Mr. Ric Kasini Kadour,
Montreal, Quebec
The Fleming Museum- Univ. of
Vermont
Stacey and Sean Kimble,
Orinda, CA
Dr. & Mrs. David Perkinson,
Portland OR
Kim Salander, and Georgette
Wirth, Norwalk, CT
The Franklin County (...
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Commissions:
MV Transportation, Fairfield,
California
Vermont Arts Council, Franklin
County Courthouse, St. Albans,
VT
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THE RUTLAND HERALD review
Oct 10, 2004 Rutland, Vermont
"Raw meat, emotion on exhibit at SPA"
"The triptych seems to bleed on the large wall. All three of the oil paintings are variations on a theme – red-on-red depictions of grocery store shelves stocked with slabs and globs of raw meat. Blue anonymous human forms stand near the refrigerated cases, apparently loading the shelves up with rounds of flesh.
This visual assault, simply titled "Meat," is part of Marc Awodey's series on that theme on view at Studio Place Arts in Barre. The images, at once repulsive and hypnotic, are energetically painted. Awodey apparently doesn't stint on the amount of paint he uses or the intensity of the colors. Most of his attention seems to be focused on roasts and hamhocks. The figures, with their distorted shapes and their facelessness, are alienating and menacing in their way.
And while this series is particularly gripping, his other, more familial paintings share similar motifs. The people are always ambiguous forms, crudely rendered, but gesturally accurate. And the settings tend to be dark extensions of their inner worlds. He frequently starts out with black backgrounds, and this literally lends a dark quality to his work.
But if the mood is haunting, the subject matter can be just plain daunting. "Mourners," another triptych, is reminiscent of Edvard Munch's "The Scream." A single burial scene is divided into three sections. Anonymous figures dominate the scene, clad in black hooded garb outlined in red and yellow paint apparently squirted out straight from the tube onto the canvas.
The faces are swaths of beige nothingness. The figures gather around a coffin, and it is through their gestures that we understand the poignancy of the scene: One figure leans on the coffin, apparently dejected, another holds a hand to her head. Awodey accentuates the drama by flattening the perspective, so that the background – a flat square of grass topped by a line of roughed-in cars – seems compressed onto the figures. The middle panel is about eight inches shorter than the two that surround it, creating the impression that Awodey has included the empty space left by the deceased in the triptych."
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contact artist
