WellesleyWeston Magazine

WINTER 2017/2018

Launched in 2005, WellesleyWeston Magazine is a quarterly publication tailored to Wellesley and Weston residents and edited to enrich the experience of living in two of Massachusetts' most desirable communities.

Issue link: https://wellesleywestonmagazine.epubxp.com/i/897427

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Page 159 of 195

Museum, Brandeis University's Rose Art Museum, Yale University School of Art, and galleries in New York, Los Angeles, and at France's Euro-Disney Park. For his current series, Creamer, who retired last year, has moved full- tilt in a new direction: using the unconventional material of chipboard as a substrate for his works. Retirement has granted him free time to dedicate to his art, and he's busier than ever. "I've got too many approaches still awaiting fruition," he said during an interview at his studio in a converted garage. "I feel like I've been working at a fever pitch." While his previous work often had a humorous quality, now he's taking a more sober approach. These new works "create an illusion — a sense of space — on a tactile surface that's very active," Creamer added. "I like that they're complementary to one another. You're getting these two responses. From a distance, the works look very illusionist. When you get close up they seem very tactile, so they promote two types of viewing. The viewer senses an ongoing tension between those two." The art is seemingly simple, yet bold. Creamer begins by sanding rectangular pieces of chipboard, about 24 inches high, to rid them of their sheen. He studies their surfaces, pay- ing attention to the dynamic intersection created by the amalgamation of compressed wood chips, slivers, and bark. The flattening of these overlapping materials on a plane, Creamer notes, is reminiscent of ana- lytic cubism, such as practiced by Pablo Picasso and Georges Braque in the early 20 th century. 158 W e l l e s l e y W e s t o n M a g a z i n e | w i n t e r 2 0 1 7 / 2 0 1 8 artist profile "unconventional material"

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