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My work is representational and figurative, imbued with drama, emotion, and theatricality- the elements that define Baroque. I employ a multiplicity of style and genre. My compositions are poetic glimpses of the complexities of being human; the nuances of figures regarding their settings; the direction of eyes creating movement, and diverting attention. Themes of myth, parallel realities, surrealism, mortality, desire, pain, and survival fill my compositions.
Timothy Griffith currently resides in Rockford, IL.
He holds a BFA from the Milwaukee Institute of Art and Design and is primarily an oil painter. He has been in exhibitions in St. Louis MO, Washington DC, Toronto ON, Boston MA, Palm Springs CA, Laguna Beach CA, Chicago IL, Woodstock IL, Crystal Lake IL, St. Charles MO, Peoria IL and Milwaukee WI.
Timothy Griffith currently resides in Rockford, IL.
He holds a BFA from the Milwaukee Institute of Art and Design and is primarily an oil painter. He has been in exhibitions in St. Louis MO, Washington DC, Toronto ON, Boston MA, Palm Springs CA, Laguna Beach CA, Chicago IL, Woodstock IL, Crystal Lake IL, St. Charles MO, Peoria IL and Milwaukee WI.
The Interview
At what point in your life did you know that you wanted to become an artist? Did the realization emerge slowly?
I was quite young when I was introduced to (acrylic) paintes, brushes, and canvas (board) at age 10. I developed into art as refuge from a troubling home life of alchoholism and abuse... whereas I used gregariousness and humor to divert the alcholoics' ire, I found great times of quite and peace when drawing and painting (often late into the night when troublers were passed out or incoherent).
How did you evolve your style and favorite mediums?
My style is primitive in its origins... self taught for decades, only receiving formal education starting at age 56. My favorite medium came (mid to late 1980's) from a desire to create smooth transitions of color/tone in my work (unachievable with rapidly drying acrylics- additionally acrylics never dry the same color they are when wet. Oil paint both keeps it's color when drying and dries slow enough to create graceful transitions.
What are your time management techniques? Do you have regular working hours...or favorite times to work?
During my 'working' years the time to paint came sporadically, and often in deference to other current life activities. During the years after high school, creativity often took a backseat to the quest for social activity and sex- however that evolved into 'bohemian' late nights, partying, and painting, and devolvong into all 'things at once' by early morning hours (skin, paint, and the taste of the green fairy on the lips).
During my years as a parent I found regular time in the evenings, and some weekend times. Those days wore on and the painting slowed quite a bit. Later, when the children themselves became teens- then young adults the art times picked up. Later, after seperations and divorce, there was a little renaissance of the earlier bohemian nights and the artworks of the night returned... but not for long- and not nearly as robust as the original late nights.
I had the resources to retire early. I did. The first thing I did in retirement was to (finally) go to college and learn about (and how to properly do) art! This education completely changed my work. The greatest change came with understanding of color. I have always favored bright palletes- but now I do it with understanding and can direct results I never thought possible. The greatest day in my artistic life came near the completion of "the Alchemist' when I sat back and found amazement in what I had acheived- never believing in the past that I was ever capable of such things- yet there it was in front of me... and I didn't see it coming out of me as it happened! I suddenly realized that I was an artist, not just a guy who could make pictures... an artist- a creator of art!
I work most every day, with no differentiation from weekdays to weekends... a day is a day- a time for creating or researching creativity. I'm quite ADHD and bounce from one activity to another, and only 'tollerate' the interruptions of dinner and sleep.
Do you work on more than one piece at a time, or primarily just on one?
Yes... over the years the ADHD dictated the 'all things at once' chaos that governs my thought/work processes... it evolved into something I find beneficial- the use of a single palette of colors being applied diversely among many different canvases/compositions/themes. The addition of color education in these past years has increased the benefit manifold.
What would you say is your biggest influence--that which keeps you working, regardless of all else, your most steadfast motivation?
One of my original raison d'étre came about when, in my adolescent social circle it was suggested that I paint tattoos on everyone. I began refining my style, and composing in such a way as to entice the bearer (or observer) of the art to be drawn to me- to want to know me better. Those beginnings also lead me to prefer stretched canvas over panels/boards. The stretched canvas has never stopped reminding me of paintings on flesh, with it's subtle 'give'. In this past decade that relationship (of canvas/skin) has been reinforced with my minor series of painting (on canvas) the tattoos on my friends, acquaintances, and models.
I have spent my life painting pictures, often with the intent of attracting others to sleep with me. This is my first official saying this out loud, and I suspect some in my circles will take this revelation with strong emotions- anger, betrayal, umbridge, what have you...
I have painted to seduce my viewing audience my entire life, men or women, quite often successfully.
Does trying something new and not knowing the rules -- the boundary pushing -- create anxiety or excitement in you? (Or both?)
Both- and remember I am a master of taking anxiety and making it my companion when I wrestle beauty and success out of my creative chaos. Most all of my mixed media work is a result of experimenting with new creative materials or concepts.
One predominant method I have brought into (my) artwork is employing cinematic framing and perspective cheating to create emotional and evocative compositions-- akin to Baroque. I often compose candid moments on the verge of emotional realizations.
It is best expressed by an exchange I had with my older brother recently... he was replying to my lament on my work not being in galleries more.... "Well duh!- what did you expect... everything you paint jumps out and grabs you by the balls, both the men and women!"
Do you enjoy having the "duality of both chaos and control" or are you happiest with a set plan?
Shortly after I began college I worked with my primary care doctor on getting a handle on my (nearly) paralyzing ADHD. Throughout my life (never undiagnosed nor treated) it often destroyed relationships, sometimes forcing a change of profession, and always adding to the pile of unfinished artworks. After beginning medicine therapies my life changed. I went from 1 or two paintings a year to 10 to 20 a year. I graduated with honors from Milwaukee Institute of Art and Design during the first year of the Pandemic. I would have graduated with 'highest' honors but my GPA never recovered from the failing grades that prompted my turn to therapeutics for the ADHD at the beginning of my College years.
Do you have any projects or events forthcoming?
I live surrounded by my body of work. In my life I've only sold a dozen or so pieces. Two thirds of my basement is an ad-hoc gallery with my collected works ranging from 1968 to present. The remaining third is my working studio. At this point, without ever having a known presence in the artworld, my goal is to present it all in retrospective fashion. I have named it "Imago Dei" (in his image) with a subsection subtitled 'Ecco Homo' (behold, the man... with a wicked double meaning [both the Latin interpretation and my erotic taste for the image of a man])
I'm working on several new pieces for this exhibit. At this time there is no venue or sponsor... but I believe when it's ready there will be a destination for it.
I exhibit often. Since my return to college (2016) I have exhibited more than 75 times, from Washington DC to Laguna Beach, CA... mostly in the midwest between St. Louis and Milwaukee. I currently have work showing in the Frank Lloyd Wright Carriage House Gallery in Oak Park (Chicago) IL.
I am not from this (art) world. I have never been granted full access to the Gallery Museum Complex. The clique of gatekeepers (those art graduates who stopped producing and instead self appointed themselves to speak on what is, and is not, art in America) has never accepted my style, nor accepted it's genesis as legitimate. I have worked to fit in, but I was unable to change my style (nor did I want to change it). I did not fit into the stable of craftsmen who capture humans in a style similar to Leroy Neiman vomiting impressionistic figures with lavender-purple shadows in just the right spots to make the sale... and keep the academic surplus of nearly great artists just barely employed.
I have never painted for commerce- I have created artistic expressions of aesthetic emotion. I think that makes my style genuine, and definitely my own, not like the toxic capitalist artists and NFT whores...
My works are solid, completely finished, not meant for the moment, but rather for the ages... a product of quality and worth. I paint the hell out of a canvas... hundreds of glazed and scumbled layers, permanent and lightfast pigments and oils, sturdy substrates- and all gallery wrapped and all sides painted (I call it 'painting to the wall' but many mistake that for meaning adhesion to the wall in some way!).
The Magenta Muse
oil on canvas
24 x 30
oil on canvas
24 x 30
Buddha Grenade
oil on canvas
24 x 36
oil on canvas
24 x 36
Diary of a Sociopath
oil on canvas
30 x 40
oil on canvas
30 x 40
Nid d'Amour Oil on Canvas,
34" x 32"
34" x 32"