Vincent Falsetta: Agendas - Paintings from Several Decades
Falsetta was a 2012-13 UNT Institute for the Advancement of the Arts Faculty Fellow. The institute is celebrating its fifth anniversary by highlighting the works of current and past faculty fellows.
The exhibition will show the evolution of Falsetta’s work – from the early paintings (1970s through mid-1990s) that were in acrylic and completed with meticulous technique to the contemporary oil works that use a more expressionistic approach. Although Falsetta’s studio practice includes paintings, index card drawings and color studies – it will be the paintings that are featured in this exhibition.
“The paintings of the last decade, though distinctly abstract, tend to suggest waves of sound, water, light or seismic activity,” Falsetta said. “They evoke the natural world while acknowledging the technology that measures or records it.”
While he was an IAA fellow, Falsetta took the color studies he did as research for the palettes of his paintings and incorporated the studies or used them as inspiration for large-scale paintings.
“The paintings are carefully planned in regards to palette and process, but the predetermined systems still allow for a large degree of improvisations,” Falsetta said. “Hundreds of on-the-spot decisions are made, with results that form a strange blend between the appearance of spontaneity and the appearance of control.”
“Because the exhibition spans four decades, gallery visitors will be able to see progression of similar themes as well as the departure from those themes and advancement of others,” Falsetta said. Falsetta hopes that those who view his paintings have different, individualized experiences – but also that they have something in common.
“I want to give people a visual and conceptual experience that keeps a sense of mystery about how the paintings were created so it broadens their perception of the artwork,” he said. “I hope that when viewing my work they see a fresh, new way to look at and think about painting.”
Glass Tire review of exhibition HERE