newt gordon-reinartist portfolio  index








sculpture gallery





I kept accidentally making sculptures for non-sculpture classes. My color theory paintings spiraled up into the third dimension: a lighthouse, a cootie catcher. My drawings leaned forward and rustled freely on the tags of tea bags. I decided to lean in, too.





“DON’T//LOOK AT ME”fabric, light, found metals
11–15–2023



How does light emblemize care? The lamp, at home on a bedside table, replaces the overbearing light of the wakeful, workful day. It cultivates a space of comfort, of warm solitude, of refuge and recouperation. Contrast this with the lights of a stage. I play the violin. During a performance, stage lights are hot. They black out the unlit faces of the audience, isolating them from the members of the orchestra.

This project started with thrift store lamps. I transformed them through the lens of that antithetical artificial light, the voyeuristic glow of stage lights that minimizes personhood.








size: roughly child; 1’x1’x2’

methods: 3 thriftstore lamps disassembled as far as possible. Skeleton re-made out of universal lamp parts and other scrap metal. Body constructed with found fabric, polyfill, and some cardboard supports. Wires run through legs, each plugging in to light one eye.

class: Material Matters with Alex Zak








“BROTHER”tea bag tags, graphite, wood, fishing line, spice blend
04–27–2023



You are smelling peanut butter. You are smelling curry, cinnamon, cayenne, chicken stock, and coffee. My brother’s face riffles in the steam, winking across 90 tea bag tags. He is a difficult man to pin down. He lives richly in the utilitarian and quotidian, and so I create a home for his likeness in this work of simple materials and laborious construction. My love, in the labor. The labor in my love.








size: 2’x2’6” (+ pot, burner)

methods: wooden frame made from one 2 x 4; each side lined with pin nails over which clear fishing line is strung. Graphite portrait glued onto set grid of tea bag tags, cut out, rear side glued to artisan paper, cut out again. Prepped tags tied onto fishing line lattice. Framed hung at angle so tags are free to flutter. Brother Soup boiled in pot beneath frame.

class: Making Sense with Timothy Li









 “R-E-V-I-E-R” (after Odd Nerdrum’s Revier, 1985)oil paint on canvas paper, thread
03–28–2023



The phenomenon of a cootie-catcher (or fortune teller) is one involving prophecy and playfulness. The cootie-catchee choses words or numbers written on the flaps of the cootie-catcher in order to discover some small truth about themself, balancing the autonomy of choice with the mysticism of an ultimately random game. In Odd Nerdrum’s Revier, 1985, a contemplative figure sits at the center of a ring of stones. This interpretive study uses its visual language  to poke at what is not there in the original: each participant reveals a piece of the picture, rather than focusing on the explanatory figure; divisive and enlightening rays emmanate from the sun. It challenges the way and the weight of a search for self-knowledge.








size: unfolded as shown 1’10”x 1’10”

methods: color scheme based on Odd Nerdrum’s Revier, 1985 using the RYB color wheel. Four 15”x15” pieces of canvas hand-stitched together. Central image oil-painted in my grandparents’ basement. Exterior flaps painted in acrylic.

class: Color & Inquiry  with Maria Gamboa










assorted projects


 

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 ncgordonrein@gmail.com
(907) 639-1966