Archive — Tate Overton

Red Cliff

Commerce series

Part of a circular series of pictures - to be read in no specific order. They represent a story about commerce as it once occurred in a hypothetical world, transformed over time and distance. The pictures are tied together yet depict four different environments, in which the singular action of international commercialization is impacting the actions depicted in each picture.

Further narration for this series to be developed...

2018. acrylic, ink, paper, enamel, ink jet, on canvas. 24” x 40”
© Tate Overton

bloomieducts

Commerce series

Part of a circular series of pictures - to be read in no specific order. They represent a story about commerce as it once occurred in a hypothetical world, transformed over time and distance. The pictures are tied together yet depict four different environments, in which the singular action of international commercialization is impacting the actions depicted in each picture.

2018. acrylic, ink, paper, enamel, ink jet, on canvas. 22” x 36”
© Tate Overton

HK yard

Commerce series

Part of a circular series of pictures - to be read in no specific order. They represent a story about commerce as it once occurred in a hypothetical world, transformed over time and distance. The pictures are tied together yet depict four different environments, in which the singular action of international commercialization is impacting the actions depicted in each picture.

2018. acrylic, ink, paper, enamel, ink jet, on canvas. 28” x 38”

Makati Overview

Commerce series

Part of a circular series of pictures - to be read in no specific order. They represent a story about commerce as it once occurred in a hypothetical world, transformed over time and distance. The pictures are tied together yet depict four different environments, in which the singular action of international commercialization is impacting the actions depicted in each picture.

2018. acrylic, ink, paper, enamel, ink jet, on canvas. 36” x 36”
© Tate Overton

mugwamps 1

Mugwamps series

This work is an organic mapping sequentially developed with a hard start and end date. The viewer is invited to explore and perhaps discover the root of its start/end, and consider the layers of time and interactions. The story of the Mugwamp’s victory, represented with a rooster in Mugwamps 1, was selected in consideration of the US political environment in October 2016. The paintings responded to the sociological reactions following the election over the course of one year.

As a method to study action/reaction in the process of making, two paintings were developed at the same time, after Robert Rauschenberg’s Factum II, 1957. Mugwamps 1 & 2 were created with an identical approach technically, however, they immediately took on unique compositional directions. They became individualized, influenced both by the physical scale of the canvas and the specific localized stories and paths found within each set of layering.

2016-2017. acrylic, vintage newsprint, enamel, ink, on canvas. 48” x 36”
© Tate Overton

mugwamps 2

Mugwamps series

This work is an organic mapping sequentially developed with a hard start and end date. The viewer is invited to explore and perhaps discover the root of its start/end, and consider the layers of time and interactions. The story of the Mugwamp’s victory, represented with a rooster in Mugwamps 1, was selected in consideration of the US political environment in October 2016. The paintings responded to the sociological reactions following the election over the course of one year.

As a method to study action/reaction in the process of making, two paintings were developed at the same time, after Robert Rauschenberg’s Factum II, 1957. Mugwamps 1 & 2 were created with an identical approach technically, however, they immediately took on unique compositional directions. They became individualized, influenced both by the physical scale of the canvas and the specific localized stories and paths found within each set of layering.

2016-2017. acrylic, ink, vintage newsprint, enamel, ink on canvas. 18” x 12”
© Tate Overton