Another Slipping Glimpser
New Drawings, 2017
Play with language seems to be at the heart of CJ Pyle’s exhibition, Another Slipping Glimpser. But as is certainly confirmed by the work on view, play is not the absence of serious-mindedness, but rather a more free-form mode of inquiry. Of course, with a certain enjoyment, dare I say, fun. This can be read in a number of different ways, from the decidedly “Pylian” visual language the artist has developed and which has become something of a signature style, to the titles he employs for his works, as well as the title of the exhibition itself. A reference to Willem de Kooning, who self-identified as a “slipping glimpser,” Pyle seems to suggest an affinity with the late artist and his inventive, if not also evasive, approach to articulating his role as an artist within society.
This wording has the feel of an onomatopoeia, though it’s hard to say which gave birth to which—the phrase or the artist. The linguistic turns of phrase employed by the artist speak to an enigmatic yet strangely identifiable vernacular language, which is equally supported by the style that characterizes the physical works. Certainly, when you look at Pyle’s paintings, the images you may perceive only ever seem to be partial (glimpses) and the brush and line work move in distinct patterns (slipping) across the two-dimensional surface. In fact, Pyle’s work offers a unique perspective on the vernacular legacies of the Chicago Imagists, whose influence on the artist seep through in different works on display (for instance, finely articulated hair and clothing patterns evoke the work of Christina Ramberg, or the optically intricate line weavings of Ray Yoshida).
But there is also a more personal side to this exhibition as well, if one sifts through the different layers of meaning and signification. The different portraits are all quite distinct and evince a private understanding or interpretation—a sense of intimacy. When asked about his interest in portraiture in general, Pyle recalled: “I have a distinct memory of myself drawing a picture at the kitchen table when I was about seven years old. I gridded the page into nine boxes and drew different characters in each box trying to make them all as different from each other as I could. I don't know quite why, but I feel that that moment might have something to do with the work that I do today.” Memory too offers its own slippery glimpses. In this case, a child’s playful exploration sets the stage for a lifetime engagement with portraiture, and the refinement of a vernacular visual language. Another Slipping Glimpser is the next chapter in this story; a longer form narrative that is itself a work of art in the making.
Steven L. Bridges
Eli and Edythe Broad Art Museum
Michigan State University
C J. Pyle (Christopher John Pyle) was born July 5th, 1956 in Richmond Indiana.
I had never seen anything like my woven-knot technique before I developed it, so there was no inspiration for it, really. I just loved the act of drawing and had been drawing consistently since about age 12. I guess if you do something that much over the years you might discover something, and I think that I did.
As to how the weave technique with a ball point pen developed? It came out of
the rock clubs, where I played from the mid-seventies into the early nineties. As a traveling musician, there'd be down time because of sound checks, breaks, traveling, etc. and I would while away the time perfecting the weave.
As a child, I loved the detailed ink work of Basil Wolverton and also loved making rope knots--I tied hundreds of them -- and became fi x ated on the weave of the rope. So those two inspirations somehow found its way into my personal artwork many years later; they're the foundation for my work.
I like making two-color portraits; I don't really know why I just do. As a kid, drawing faces is what I fi x ated on. I also find creating an image with limited color much more challenging than one created with many colors.
GALLERY SHOWS AND EXHIBITIONS:
Raw Vision/25 years of Art Brut, 25th anniversary exhibition. Halle St Pierre Museum, Paris France. Sept 18, 2013 - Aug 22, 2014
C.J.Pyle - D.J. Ojekere, The Hughes Gallery. Sydney, Australia. Aug 10 - Sept 4, 2013
Outside - In, University of North Carolina Pembroke. July 24 - Sept 6, 2013
Forever Young, Good News Only, Chicago IL. March 3 - May 25, 2012.
C.J.Pyle - Scott Ogden, Twisted, Ricco Maresca Gallery. New York, New York. June 23 - Aug 19, 2011
C.J.Pyle - Skin Deep, Carl Hammer Gallery, Chicago IL. Oct 28 - Dec 30, 2011
Forget me NOT: Self Taught Portraits, Intuit: The Center for Intuitive and Outsider Art, Chicago IL. Sept 10 - Dec 31, 2010
C.J.Pyle - Kilroy's Delight, Carl Hammer Gallery, Chicago IL. Oct 2009
Midwestern Blab!, A+D Gallery, Chicago IL. June 2009
Primal, Carl Hammer Gallery, Chicago IL. June 2009
Blab! Show, Copro Nason Gallery. Los Angeles CA. Sept 2008
Blab! Museum Retrospective, Mirianna Kistler Beach Museum of Art, Manhattan KS. Aug 2008
Blab! Show, Philip Slein Gallery, St. Louis MO. Oct 2007
Blab! Shoe, Copro Nason Gallery, Los Angeles CA. 2007