Glen Baldridge


April 27 - June 10, 2007

Opening Reception : April 27, 2007 7-9 pm

Glen Baldridge, Here Come the Miracles, 200764 block, 7 color intaglio wiped relief printed woodcut on Shikoku paper in two parts, co-published by Forth Estate and Robert Blackburn Printmaking Workshop102 @ 32 1/4 x 22 1/2 inches
Glen Baldridge, Ever Ever ,, 2007acrylic and powdered graphite on paper42 1/2 x 44 inches
Glen Baldridge, Never Forget, 2007acrylic and powdered graphite on pape42 1/2 x 44 inches
Glen Baldridge, 6SD60RTb.jpg, 2007powdered graphite and silkscreen on paper21 3/4 x 27 1/2 inches
Glen Baldridge, ceSvTXz4.jpg, 2007powdered graphite and silkscreen on paper22 1/2 x 21 3/4 inches
Glen Baldridge, Ty2isv3S.jpg,, 2007powdered graphite and silkscreen on paper28 1/2 x 25 1/2 inches
Glen Baldridge, 3qUbstIH.jpg, 2007powdered graphite and silkscreen on paper29 1/2 x 18 1/4 inches
Glen Baldridge, ZFmKw02u.jpg, 2007powdered graphite and silkscreen on paper29 1/2 x 20 inches

Press Release

Klaus von Nichtssagend Gallery is pleased to announce the second solo exhibition of works on paper by Glen Baldridge entitled “It Took Several Lies”. An opening reception for the artist will be held Friday, April 27th from 7–9pm.

Something dark is brooding within the black powdered surfaces of Baldridge’s drawings: the angst and confusion of American youth, or perhaps the emblazoned fury of an ecology at odds with its inhabitants. The work explores a state of mind that is self-conscious and unsure, referencing the nihilistic aesthetics of Black Metal and incorporating them into the context of our current uncertain times. Black and white burned-out forest scenes, derived from poor quality jpeg images are inverted to conjure stark white trunks emphatically erased by hand from a solid black graphite sky. The result is a crude starkness. In their soft and subtle surfaces they summon thoughts of an angered presence among the trees as if setting themselves ablaze out of rage or defiance. However, a self aware sense of humor at work refuses to let the demons play too hard. Two large drawings spell out the words “Never Forgive” and “Never Ever” both formed by the shapes of wildflowers embedded deep into the paper through a fog of smudges and marks from the process of painstakingly transferring the graphite pigment with a tattoo gun. The reversed text might be read as if scrawled in the mirror somewhere beside “REDRUM.”

Another highlight in the exhibition is a diptych woodblock print of two geometrically styled fists, one bearing the word “OKAY,” the other “FINE” tattooed in gothic script on the bare knuckles. The print is especially distinct because of its unusual technique: mixing forms of traditional relief woodblock with intaglio in a type-set inspired matrix of free blocks. The print is published jointly by Forth Estate Editions and Robert Blackburn Printmaking Workshop.

Glen Baldridge’s work is in many public and private collections in the US and abroad including that of the Museum of Modern Art, and the New York Public Library.