“Art of Mending” with the Illustration Institute at the Brick Museum in Kennebunk, details TBA.
Instruction at Artascope at BEC Yarmouth now VIA ZOOM: There are supply lists, and I ask artists to consult with me in advance to discuss options, and location of resources with best prices.
On hold: Basic Drawing Six-week session on Tuesday mornings 10 am to 1pm. During these drawing sessions, participants are welcome to explore other media such as pastel, watercolor, gouache, and even acrylic and apply them to drawing problems with color theory. The focus is mostly on black and white charcoal drawing with kneaded eraser to focus on the fundamental principles, drawing elements and techniques to provide structure for other art making and media.
Acrylic Painting Technique Six-week session ONLINE CURRENTLY: Thursday mornings 10 am to 1pm and Thursday afternoons 1:30 to 4:30pm (see schedule as AM and PM offerings may be postponed or cancelled).
Example of what we do in class: Generally there is a color theory challenge, and a content prompt such imaginary landscape with figure or figures, or floating vegetables from observation, or painting from historic or vintage black and white photograph as reference.
See the latest prompts and participants’ works in progress March April and January February 2021.
From Week two of Fall 2019 in-person: We paired Futurist Giacomo Balla color schemes with simple compositions blocked in using line from photo reference, observational sketches, or from life. Refine and complete idea through formal technique, color interaction, and other approaches. Pattern, texture, colors or introduce something that would seem unrelated but welcome like turquoise, or fire engine red, midnight blue purple, or acid yellow. Blend and “contaminate” colors with even a tiny amount of a third or fourth color. Color and composition can become important to a personal visual narrative.
Curatorial projects and exhibits via drawing room: please check the drawing room page for updates and recent projects or exhibits.
flotsam and jetsam series
Photo credit: all works by Alex Rheault 2018, acrylic on canvas.
Rapture, series since 2017
surrender, of the Rapture series, 2017 223 x 30 inches, watercolor and gouache on Strathmore drawing paper, 2017
thaw, of the Rapture series, 18 x 24 inches, watercolor and gouache on Strathmore drawing paper, 2017, private collection
spark, of the Rapture series, 14 x 17 inches, watercolor and gauche on Strathmore, 2017 The image celebrates the spirit of race car driver, who set a land speed record with a Bugatti Type 35, cabaret dancer, and model, Helle’ Nice (Helene Detangle 15 December 1900-1 October 1984), the Bugatti Queen! private collection.
UMVA Journal: Winter 2017 Cover and pages 26-29 https://issuu.com/umvajournal/docs/maj_winter_2017/1?ff=true&e=12294012/42477933
3 Fish Gallery’s Out with Bang exhibit: http://www.pressherald.com/2016/12/11/even-as-another-gallery-closes-plenty-of-fresh-art-in-portland/
wonder, of the Rapture series, 14 x 17 inches, watercolor and gouache on Strathmore drawing paper, 2016
1. confluence, 2. reach, and 3.undercurrent, of the Rapture series, 14 x 17 inches, watercolor and gouache on Strathmore drawing paper, 2017
REVIEWS of this work: Daniel Kany, Portland Press Herald
11 December 2016 “…….but I was particularly struck by ………and a surreal drawing by the inescapably fun Alex Rheault. Rheault’s red brush drawing includes a triple baby-headed tree, a splatter-tailed redbird, a heavenly wingtip and a chunk of meat that, due to a nearby leg prosthesis, looks like a section of human thigh. Rheault’s work is more playful than gory, however, and it dares the viewer to make what they will out of the uncanny cavalcade. It is, in other words, what the viewer chooses to make of it. …”
15 January 2017 “Works tend to stand out from “Lines of Thought” by being intriguing rather than simply skillful or attractive. Alex Rheault’s pair of surreal images, for example, look like a dream visit to Freud’s kitchen junk drawer. Yet they are beautifully executed and never surrender their luscious edge. ….”