Join us for the epic bash X: A Decade of Tempus Projects, celebrating ten years of the gallery cultivating and contributing to the vitality of the arts in the Tampa Bay region. The exhibition features works by artists who have advanced the success of Tempus Projects over the past decade, and commemorates the non-profit’s commitment to providing a platform for local, national and international artists, and as a space for community engagement through the visual and performing arts.
With special performances by internationally acclaimed artist Kalup Linzy, and Alien House, a Tampa-based alternative band, this event is not to be missed!
6–9pm Saturday, December 14
Admission $10
Tickets available in advance via Eventbrite or at the door.
Eventbrite link coming soon.
With special performances by internationally acclaimed artist Kalup Linzy, and Alien House, a Tampa-based alternative band, this event is not to be missed!
6–9pm Saturday, December 14
Admission $10
Tickets available in advance via Eventbrite or at the door.
Eventbrite link coming soon.
FERAL BRUSH
Recent works Roger Palmer
Tempus Main Gallery
November 9 – December 7, 2019
Opening :: 7–9PM, Saturday, November 9, 2019
When young, each half of your brain is a camping site of deep woods. Some tendency monsters, fear and avoidance tactics, and feeding processes are preexisting conditions of existential forestry in a mind yet unsawn.
Art can get you hunting permits, but no guarantees of surviving yourself or your art surviving you.
The meat bridge between words and the feral brush is stage left for things that speak, mean and sweet, and stage right for things that howl their longing.
When I make a howling mark run from stage right onto that Southern pine bridge of a stage, and hear its claw or paw beat the planks, some little know-it-all, half literate, bastard word runs out and shouts the line that tries to tame it.
A word is naked till it tries to contain. I cannot have a complete visual or verbal thought without shifting from visual mark to word inside the image process.
A runaway diesel on a downhill loses its brakes. It’s got a load of crated scared chickens. The artist is downshifting to make the curve to the truck runoff.
The paper absorbing live pigment has a couple of literate chickens yelling advice. “Don't kill the page and us” they are yelling through the back window of the the cab of my head.
Downshifts at speed inside an image are joy. I am there, but not more important than the page. Anger, rage, longing, sadness, courage and grace in my surrogate characters deserve some downshifts.
A woman on the bridge is singing to a dog in a language I do not know. Her dog knows two hundred words in her language. I know none. In her arms the dog looks scared. I am floating over her right shoulder. Her face is not seen. People on the bridge are leaning back from the sound. It’s a scary love song about love leaving her heart and slamming the door. I want to draw this circus of desire that scares and seduces me. Paper is mortal and not forgiving. Your flesh is mortal, but your mind does not have to taste like chicken.
ABOUT THE ARTIST
For over 50 years, Roger Clay Palmer has been producing poetry, paintings, installations and, primarily, a large body of drawings. Ruthless black humor blends with gentle compassion in a world where animals and objects often mimic and reflect us. Growing up on a ranch in Florida listening to family members tell stories, his work reflects his love of Southern oral tradition. Strongly affected by his experiences in the army before being discharged as a conscientious objector during the Vietnam War, he often focuses on the dark side of current events. Six weeks in Japan in 1985 deeply influenced his work; as with Japanese haiga and Zenga, words are an indispensable component of his brush, pigment and ink drawings.
His installations of drawings and artifacts have been shown in such venues as Diverseworks in Houston (solo and group shows); NEXUS in Atlanta; Southeastern Center for Contemporary Art in Winston-Salem, NC; Polk Museum of Art, Lakeland, FL.; Jacksonville Museum of Art, FL; Montana State Gallery; Tampa Museum of Art; and Ringling (FL) Museum of Art, which purchased an installation for their permanent collection. He has received a regional NEA Grant, two Florida Individual Artists grants, as well as grants to do installations at Miami Waves Film Festival; Nexus; and The Artists' Alliance in Tampa, FL. He participated in a NEA funded collaborative performance work,"Smarter than Dogs", and a collaborative project with PWA’s which traveled to Miami and Orlando. He has self-published 3 books, one of which (“The Inheritance and Other Stories ") is archived at Franklin Furnace, NYC, another at Virginia Commonwealth University; another was displayed at Houston Museum of Contemporary Art. Poetry and/or images were published in Sonoma Review (U. of Arizona); the Journal of the NEA; and Tabloid Magazine. He was included in the 2012 book “100 Southern Artists”.
Since 2008, solo shows include: “In Dog Light” at USF Contemporary Art Museum, Tampa (with a catalog essay by curator David Norr); Marcia Wood Gallery in Atlanta; and 80 drawings “Taking On the Right Wing” at Tempus Projects in Tampa. He had 4 person shows at Mindy Solomon Gallery in St. Petersburg and Blue Spiral in Asheville, NC. Recent group shows include:"At Sea", Long Island City, NY(2019); “Dark Poets”, Maryland Institute College of Art’s Decker Gallery; “Freaks“ Brooklyn‘s Privateer Gallery; Atlantic Center for the Arts, New Smyrna Beach FL
He divides his time between Tampa,FL Jackson Heights,NY and a cabin he hand built in Ozello,FL.
Recent works Roger Palmer
Tempus Main Gallery
November 9 – December 7, 2019
Opening :: 7–9PM, Saturday, November 9, 2019
When young, each half of your brain is a camping site of deep woods. Some tendency monsters, fear and avoidance tactics, and feeding processes are preexisting conditions of existential forestry in a mind yet unsawn.
Art can get you hunting permits, but no guarantees of surviving yourself or your art surviving you.
The meat bridge between words and the feral brush is stage left for things that speak, mean and sweet, and stage right for things that howl their longing.
When I make a howling mark run from stage right onto that Southern pine bridge of a stage, and hear its claw or paw beat the planks, some little know-it-all, half literate, bastard word runs out and shouts the line that tries to tame it.
A word is naked till it tries to contain. I cannot have a complete visual or verbal thought without shifting from visual mark to word inside the image process.
A runaway diesel on a downhill loses its brakes. It’s got a load of crated scared chickens. The artist is downshifting to make the curve to the truck runoff.
The paper absorbing live pigment has a couple of literate chickens yelling advice. “Don't kill the page and us” they are yelling through the back window of the the cab of my head.
Downshifts at speed inside an image are joy. I am there, but not more important than the page. Anger, rage, longing, sadness, courage and grace in my surrogate characters deserve some downshifts.
A woman on the bridge is singing to a dog in a language I do not know. Her dog knows two hundred words in her language. I know none. In her arms the dog looks scared. I am floating over her right shoulder. Her face is not seen. People on the bridge are leaning back from the sound. It’s a scary love song about love leaving her heart and slamming the door. I want to draw this circus of desire that scares and seduces me. Paper is mortal and not forgiving. Your flesh is mortal, but your mind does not have to taste like chicken.
ABOUT THE ARTIST
For over 50 years, Roger Clay Palmer has been producing poetry, paintings, installations and, primarily, a large body of drawings. Ruthless black humor blends with gentle compassion in a world where animals and objects often mimic and reflect us. Growing up on a ranch in Florida listening to family members tell stories, his work reflects his love of Southern oral tradition. Strongly affected by his experiences in the army before being discharged as a conscientious objector during the Vietnam War, he often focuses on the dark side of current events. Six weeks in Japan in 1985 deeply influenced his work; as with Japanese haiga and Zenga, words are an indispensable component of his brush, pigment and ink drawings.
His installations of drawings and artifacts have been shown in such venues as Diverseworks in Houston (solo and group shows); NEXUS in Atlanta; Southeastern Center for Contemporary Art in Winston-Salem, NC; Polk Museum of Art, Lakeland, FL.; Jacksonville Museum of Art, FL; Montana State Gallery; Tampa Museum of Art; and Ringling (FL) Museum of Art, which purchased an installation for their permanent collection. He has received a regional NEA Grant, two Florida Individual Artists grants, as well as grants to do installations at Miami Waves Film Festival; Nexus; and The Artists' Alliance in Tampa, FL. He participated in a NEA funded collaborative performance work,"Smarter than Dogs", and a collaborative project with PWA’s which traveled to Miami and Orlando. He has self-published 3 books, one of which (“The Inheritance and Other Stories ") is archived at Franklin Furnace, NYC, another at Virginia Commonwealth University; another was displayed at Houston Museum of Contemporary Art. Poetry and/or images were published in Sonoma Review (U. of Arizona); the Journal of the NEA; and Tabloid Magazine. He was included in the 2012 book “100 Southern Artists”.
Since 2008, solo shows include: “In Dog Light” at USF Contemporary Art Museum, Tampa (with a catalog essay by curator David Norr); Marcia Wood Gallery in Atlanta; and 80 drawings “Taking On the Right Wing” at Tempus Projects in Tampa. He had 4 person shows at Mindy Solomon Gallery in St. Petersburg and Blue Spiral in Asheville, NC. Recent group shows include:"At Sea", Long Island City, NY(2019); “Dark Poets”, Maryland Institute College of Art’s Decker Gallery; “Freaks“ Brooklyn‘s Privateer Gallery; Atlantic Center for the Arts, New Smyrna Beach FL
He divides his time between Tampa,FL Jackson Heights,NY and a cabin he hand built in Ozello,FL.
