on the virtues of isolation and community

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“The man who is unable to people his solitude is equally unable to be alone in a bustling crowd.”
                                                                                                                 - Charles Baudelaire

In 2008 I rented my current studio and began, unknowingly, a sustained period of self-exile from other artists and the art world.  During this time I worked, I explored, I imitated and, eventually, I was able to hear only my own voice.  Only about 3 or 4 years ago did I come out, and only within the last year have I truly began to re-engage and actively exhibit my work again.

Charlie Parker is perhaps the most famous example of "shedding," but the practice remains an important one.  While not everyone benefits from imposed solitude, Baudelaire had it right; finding the pleasure and meaningfulness of our own company better enables us to find the quiet spaces within the din of humanity.

For me, what resulted from self-exile was a unique visual voice; clear and true.  And while I value the time I spent without an art community, I have realized it is time to rejoin that community in full force.

A criminology professor in undergrad once said to our class, "It takes humans to make us human.  It takes humans to keep us human."  Without the company of others, over time we diminish ourselves.  I like to to think of it as balance.  Finding the strength to be alone when our souls need to recharge, and finding the energy to social when our hearts long to play.

Next month, May, I will begin moving into my new studio at the Greenville Center for Creative Arts, located in the West Village of Greenville, SC.  For the first time in a very long time I will be part of a monthly art crawl, and participate in the annual city-wide open studios.  South Carolina and I have had our differences, and even after 15 years I find myself still struggling at times to adjust the local culture.  But part of my decision to relocate to Greenville and base my practice there was simply to be the change I wished to see.  To help to continue to elevate the art scene and to be part of the tide that raises all boats.  

There's a lot going on in Greenville, SC.  I've moved around enough in my life to recognize what is happening here.  Even though I've been an SC-based artist for nearly 2 decades, I will be starting over in a new scene.  It's humbling and there are tremendous opportunities within the challenges of being the new kid.  

I will, unfortunately, miss the first Friday for May.  But please stop by studio # 7 in June to say hello.

#yeahthatgreenville #studio #painting #oilpainting #carolinaartists #artistsoninstagram

Begin. Again.



Show Announcement: March 17th NYC

(left) Caravaggio, "The Entombment of Christ", 1602-03
(right) Rico, "Sepoltura" (fourteenth station), 2017

Not a comparison; a reference.

Please join me at The Narthex Gallery on Friday, March 17th from 6pm to 8pm.  The gallery is located at 619 Lexington Avenue at 54th Street, New York City.  The show runs March 16th-May 1st.

Check in, tag me, bring friends:  #NYC2017 #stations #NarthexGallery
Instagram: @christopher_rico
Twitter: @ChristopherRico

For a preview of the entire show, go to this Facebook gallery.

"Christopher Rico's first solo exhibition in NYC is a re-imagining of the Stations of the Cross.  This body of work features 14 paintings, mostly oil on linen, which will encircle the narthex of Saint Peter's church, adjacent to the Louise Nevelson Chapel.  Three years in concept, 14 months in construction, the work contends with the Christian prophet's last day as he walks from trial to tomb.  Named after the road in Jerusalem that was the route towards the cross, the show's title, "Via Dolorosa" translates to Way of Sorrow, or Way of Suffering.  Some of the titles of the stations have been changed to reflect Rico's own interests."

""Fascinated by the experience of finger painting with his twin daughters when they were little, Rico set about to free his studio practice from the use of brushes. Over the past six years he has developed a unique process of pouring, wet-on-wet technique, and manipulating paint on surface. At once technically precise and improvisational, Rico’s work is beguiling in its apparent simplicity and beauty." 

"His strict black and white palette evokes associations with x-rays, paranormal photography, clouds, the cosmos, and Renaissance religious painting. Drawing from a rich and insightful knowledge of art history, Rico’s work is timeless and profoundly of the moment. His recurring themes of ambiguity, uncertainty and ephemeral transcendence offer the viewer light in these otherwise seemingly dark days."