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Copyright April M Rimpo All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

Friday, April 6, 2018

"Construction Rhythms" 12" X 20" Fluid Acrylic

Construction Rhythms I by April M Rimpo
Construction Rhythms I
Fluid Acrylic
12" X 20" painting
18" X 27" bronze-tone metal frame


On exhibit in MFA's Curve Gallery - an online gallery
  April 15 - May 31

A link will be provided once the exhibit is available.

Construction Rhythms I received the 3rd Place Award

Available for Purchase Now

Working for a Living Exhibition at Maryland Federation of Art's Curve Gallery


John James Anderson is an interdisciplinary artist, arts writer, and curator who lives and works in Michigan. A former professor of art and design, he has taught at American University, Corcoran College of Art and Design, George Mason University, George Washington University, and Prince George’s Community College. His arts coverage has appeared in Art in America, Sculpture, Washington City Paper and The Washington Times, and he was recently selected for an arts writers workshop through the Andy Warhol Foundation and Creative Capital. A recipient of several grants from the DC Commission on the Arts and Humanities, his work has been covered in the Washington Post, Miami Herald, the A/V Club, and Hyperallergic.

Juror’s Statement

In the first half of the 20th Century, labor was a common subject for works of art. Labor on the farm and in factories was a repeated element of Communist and Fascist propaganda (it still is, in fact). In the U.S. the theme consumed Regionalist painting—most notably of Thomas Hart Benton—and of photography commissioned by the Works Progress Administration. 19th Century paintings, like Caillebotte’s “The Floor Scrapers,” Courbet’s “The Stone Breakers,” or Eakins’ “The Gross Clinic;” along with numerous paintings featuring bartenders, dancers, oar-pulling boatsmen as their subjects: all depict some matter of work. Further back in the Western tradition, art is cluttered with work or the products of it: whether depictions of middle-class Dutch tradesmen surrounded by their wares, the portraits of courtiers, or the armies of kings engaged in battle. Even Michelangelo painted God making heaven and earth.
Vocation. Avocation. Live to work. Work to live. Factory. Farm. Right to work. Minimum wage. Fair wage. Wall Street. Main Street. Migrant labor. Day labor. Sweatshop. Blue collar. White collar. Our vernacular is filled with terms that involve some way to describe work: some go so far as to load these words with the baggage of politics, shepherding us into strictures of status and class. Even here, within this contest—thanks to the history of images that has shaped our common understanding of visual art, and  the language that shapes our common culture—the submitted images overwhelmingly focused on the various arts of entertainment, a transaction or exchange of money for goods, and professions of hard manual labor.
Of the 232 submitted images, and of the 45 selected work, many were photographs. It was evident several of the works submitted were done by an artist enchanted by a novelty of subject, or place, in much the same way thumbing through a National Geographic stirs our interest in the unfamiliar. Despite many intriguing images and subjects, what made my attention return were the formal structures of composition and design, color and value. Narrative also played a part in both initial selections, and awards: how many stories could be pulled from the image beyond the illustration of a person working.
My thanks to the MFA Circle Gallery for inviting me to jury this exhibition, and to the artists for submitting and sharing their work.


1st Place, Peter Treiber, Sandblasting, Hoboken Yard
1st Place, Joanne Strehle Bast, The WINDOW WASHER
2nd Place, Stephen Thomas Hanks, Industrial Park
2nd Place, Judith Ann Guenther, Job Well Done
3rd Place, April M. Rimpo, Construction Rhythms I
3rd Place, Ted MuellerIn Process
Honorable Mention, Lisa Briganti Rath, Gyros on the Street
Honorable Mention, Emily Carter Mitchell, Clam Digging
Honorable Mention, George Sass,Happy Meals
*Award contributors and recipients will also be listed in the exhibition catalog.

Artist's Artwork Statement
Construction Rhythms was a fun painting to design. Whenever you have figures in scene they become an automatic focal point. Deciding where to place them was the challenge. I also loved the ladders and orange lifts, but didn't want them to take precedence over the men. After playing around with different croppings I decided to use this Cross layout, placing the standing man next to the crossing point. He is also between the two orange lifts, which are color spots that will automatically attract your eye. I'm hoping the man on the lower-right platform is a happy surprise.

I love the patterns of the construction platforms, the ladders, and the architectural lines; so I decided to incorporate additional subtle patterns in quieter passages of the building to repeat those shapes.

For the color scheme I decided on a triad of blue, orange, and yellow. Browns are considered part of the yellow family and can be mixed using combinations of blue and orange. The grays were combinations of all three elements of the triad.  

Also see Digging a Hole - another painting of men at work

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Copyright April M Rimpo All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

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