Relief Sculptures by Ron Isaacs Fool the Eye & Soothe the Soul

Tory Folliard Debuts Artist Ron Issacs

Mar. 20, 2012

3:05 a.m.

Ron Issacs brings his breathtaking artwork to Milwaukee for the first time in his illustrious 40 year career this March. In his debut exhibition at Tory Folliard Gallery titled “Harbinger: Trompe l'Oeil Painted Constructions,” Isaacs presents over a dozen pieces that cross those imaginary lines between the mediums of painting and sculpture. Artwork to combine the past with the present to foretell something regarding the future as the title possibly indicates? Isasacs' incredible work, in large and small scale, portrays a perceptive connection between vegetation and vintage garments. A connection that Isaacs claims melds the eternal qualities in nature, the cycle of passing time from birth to rebirth thorough the four seasons, with a fixed time or period reflected in the recycled garments.<o:p /> His painted garments, or sculptures, are fashioned from meticulously cut birch plywood similar to fabric cut from a tissue paper pattern. After piecing the wood garment together with professional strength Elmer's glue, Isaac gessoes the finished clothing multiple times. Only then does the artist begin the trompe l'oeil process where he paints them to appear as real as an actual garment, so lifelike one considers this transformation magical, several floating in the air as an apparition might. The leaves or birds appear to inhabit the clothing similar to an actual person would, growing from a neckline, sleeve or waistline. While Isaacs has never sewn clothing, every bow, stitch and pleat are rendered with impeccable detail and life. <o:p /> Before the opening reception on last Saturday afternoon, Isaacs had some time to discuss his work further. A catalogue from a previous 40 year retrospective at this alma mater, Berea College in Kentucky, helped Isaacs explain his evolution from painter on canvas to painter on plywood. <o:p /> What started your career to creating these unique constructions that bridge two mediums?<o:p /> I changed from painting canvas to painting plywood in the 70's. It was in 1970 that I cut out my first collage from wood and attached it to my canvas. Then after trying this once or twice, I realized I could make a painting any shape I wanted [using the wood.] At the time, my Dad cut out my first shape [a shaped painting], and then I learned how to use a jigsaw from him, and can cut almost anything after all this time. I do all the complicated construction and cutting on my own. I'm not a carver. I cut the pieces and then paint them to resemble the clothing. My first full piece was my own raincoat, a trench coat titled: Ron's Plywood London Fog Freak Out in 1973. An obviously 70's title.<o:p /> <o:p> </o:p> What drew you to construct clothing, especially vintage clothing, through this process? <o:p /> <o:p> </o:p> The leaves and sticks I place with the garments are all plywood, trompe l'oeil, too. They remain a timeless element while the garments are fixed in time. Clothing is also anthropomorphic, retains the shape of a human figure, the presence of a human being. I used to include a tiny figure wearing the clothing in each piece, but then realized that wasn't necessary. The garment is also a ghost of a human presence or experience. I used to search for these garments in vintage clothing stores, and still do, or now I buy them on ebay. Although it's harder to see the details and texture, feel the garment, when buying on line. <o:p> </o:p> What inspires you first, a concept or the actual garment?<o:p /> <o:p> </o:p> Sometimes the clothing can be the inspiration, and then I need to find an idea to see how the garment can undergo a metamorphosis into something more. Then, at others, I have an idea, and I need to find the right clothing. It's about putting these elements together, extending the life of the past into the present. First, I want this work to be visually evocative and then rely on the viewer to bring their own meaning and narrative to the piece. Although sometimes I look at a piece I did five years past and I think something new, completely fresh, about the work. They're [the sculptures] related to time, the seasons, and change that the titles give [the viewer] clues to. <o:p /> <o:p> </o:p> Could you talk more about this small green dress with the magnolia leaves for sleeves?<o:p /> <o:p> </o:p> All the pieces speak to transformation, the garments are turning into something else, the leaves or branches growing out of the garment. This piece [An infant or toddler dress titled Child] was very tricky because of the satin roses, smocking detail and all the stitching. Each garment can be so rich in structure, color and design. Another child's garment in this exhibition is English Sparrow, a tiny weathered green raincoat, made in London, because the tag in the back of the coat can be seen [with the manufacturer\'s name] and so goes the title. The sparrow comes from the branches in front of it, with the sparrow in the tree's leaves. [Children are small like sparrows, and God keeps his eye on the sparrows, and perhaps children.] The illusion of the garment could be [speak to] immortality. <o:p> </o:p> How long does it take to create one piece?<o:p /> <o:p> </o:p> One piece requires about six weeks to finish and I do about 15 to 20 pieces a year. I'm always looking at the real garment, and use no photographs. The first half of the time is used for construction. I pin the garment to a grid paper, make a contour line drawing, and then a paper pattern, usually with hundreds of pieces. Then I construct the piece, which requires a lot of sanding. This is an additive rather than a subtractive process. Afterwards, I assemble it, and it's ready to paint after applying several layers of gesso. Then there's about 15 layers of paint,<o:p /> including drybrushing. I start with the middle tones first, then apply the darker shadow, and last sand the find the highlights.<o:p /> <o:p> </o:p> Any final worlds on how to fully experience these exceptional artworks?<o:p /> <o:p> </o:p> They're [his artworks] really relief sculptures, a kind of 2.5 dimension they used in the title of my retrospective catalogue. The garments seem to represent the civilized self [the garment] and the less tame or more impulsive self [The leaves, trees, and twigs]. The formal and informal. Are the leaves coming or going from the garment? While the artworks are primarily visual, they also have a conceptual resonance. I'm in my seventies, and while the construction is certainly very physical, the painting is more sedentary. I hope to be putting things together, painting as long as I can.<o:p /> <o:p> </o:p> Tory Folliard Gallery presents Ron Isaacs in "Harbinger: Trompe l'Oeil Painted Constructions" through April 14. Isaacs\' truly breathtaking constructions fascinate the eye and soul, and need to be seen in the gallery to appreciate his work completely. For pictures of actual garments and sculptures visit: www.toryfolliard .com <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p>

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