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In this new body of works on paper, Mr. Clenaghen’s new paintings exert a palpable tension in their composition. Contrasts between open white spaces and patterned shapes that portend the figurative imply a stronger narrative from previous work. Those components pared with bare branch trees imply a spare and mysterious landscape that hints at northwest noir or the wider scope of post-modern noir. Mr. Clenaghen continues to explore themes of ambiguity, post-modern romanticism and spiritual transcendence.
After working for over a decade in the materiality of joint compound and acrylics that essentially made for a contemporary fresco technique, the artist has been experimenting with new materials for over a year. Mr. Clenaghen, for this body of work, is using a Japanese polypropylene paper called Yupo with similar qualities and sensitivity of rice paper but added durability and strength. The character of Yupo permits the mediums of ink, watercolor and oil to coexist within each painting.
A graduate of the San Francisco Art Institute in 1990, Brenden Clenaghen received his MFA from Portland State University in 1999. His work has been selected for many exhibitions including, the 1999 Oregon Biennial at the Portland Art Museum, Pleasurecraft at the Tacoma Art Museum in 2001, Somatic at the Memphis College of Art and Ulterior Motives at the Art Gym at Marylhurst University both in 2003 and Fresh Trouble, curated by Jeff Jahn in 2005. Mr. Clenaghen also shows in Chicago at Zolla Leiberman and has shown at Pulliam Deffenbaugh since 2000. He currently teaches art at Portland State University.
Click Here to read Richard Speer's review of We Became for the Willamette Week.
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