artists I like

things happening... by Jeff Herrity Artist

The past few months have gone by in a blink. I am one week away from finishing my first semester at George Mason University in the Arts Management graduate program. The classes were really great - especially the Finance class which taught me many things that a CFO does and just generally increased my confidence in running the financial aspect of an organization. Next semester is Finance 2 and I think that gets more into budgeting an organization. I'll be curious how that one goes. I'm also currently in the Alchemical Vessel show again at the Joan Hisoaka Healing Arts Gallery. This year we were given a cigar box to use. Mine was created at the time of David Bowie's death and is influenced creatively by his message. The show is up through May 6 at least. That is the night of the artist closing reception. It's also my birthday and John is doing a reading at the Epicure Cafe in Fairfax, which we are of course attending. Then we will rush to DC for a concert.

I'll also be in a show carated by Superwaxx, which will take place at the Fridge Gallery in June. (more info to come) I'll be doing some other shows/curating in August, and then spend half of the month in Vermont at the Vermont Studio Center on residency. For these two weeks, i'll be finishing work on my show which will open at the beginning of September at Jordan Faye Contemporary.



collaborating with other artists - an update. by Jeff Herrity Artist

Jeff Herrity by E Brady Robinson I've had a little bit of downtime since my show ended back in November. I still have work other places and will have a post about the amazing Snap!Space gallery in Orlando. I've been in the early stages of a commission which will include a very cool installation working with a designer in Winter Park, Florida. There's also Lost River Trading Post - Grasshopper Gallery, in West Virginia, and Crossroads Art Center in Richmond, Virginia.

I also had a really fun photoshoot with E Brady Robinson (visit her site: she'll be in Miami at the Sagamore Hotel on February 15, 2015 signing her fantastic book Art Desks. (buy it here: The shoot in my studio was for a calendar supporting my new studio Red Dirt - another post on that!

It was a great day to have my portrait taken - if you need a great shot contact her via the links above.

I'm also excited about my next solo show which will be at the Fridge Gallery in Barracks Row/Easter Market opening on September 12, 2015! More on that coming. (I'm trying to work out an email communication calendar)

I sincerely will make an effort to keep my blog updated at least weekly with this new show. And also I have a residency in Puebla Mexico starting on May 25, 2015 for six weeks! (LOTS of posts on that.)

More soon.  As in probably this weekend!  You can also follow me on Instagram: @jherrity

so many options. by Jeff Herrity Artist

Last night I went to the opening of the WPA show Options 2011  <--click for details -in what has to be one of the coolest spaces for a show in DC - some random pre-demolition or pre-renovation space on New York Avenue next to District Crossfit and the DC Eagle. You enter the space up a flight of crack-house style stairs and through a narrow (about as wide as me) opening into a large cavernous series of rooms. Amazing. There were many artists' work in the show that I'm familiar with, Heather Boaz, Lisa Dillin, and Katherine Mann. Katherine's work greeted me as I walked up the stairs and blended into the space nicely, almost too nicely since some attendees didn't even realize it was her work. Corporate culture was the theme in Lisa Dillin's work (also a current teacher of mine) and I really connect to it having spent so many years in corporate america (lowercase intentional) - and the work seems even more relevant today in how hostile corporations are towards the public and their own employees.

I was instantly jealous when I saw the installation/performance by Heather. She had sent out a request for volunteers to be in the piece and I wanted to do it sooooo badly until my feet betrayed me. She needed someone with a size 10.5 shoe. I'm 11.5/12 and would have gladly cut off my big toe to fit in the shoes that the person had to wear. They had handles on the bottom. Incredible.

If you have a chance, you should check out the show.


seeing the light. by Jeff Herrity Artist

Even though John and I specifically went to the Naples Museum of Art to see the Nevelson sculptures, we also walked through their collection and other special exhibits. For such a small museum, they have a great permanent collection and some fun temporary exhibits. Stephen Knapp's Lightpaintings exhibit blew me away. Because I'm so fascinated right now with utilizing light and shadows in my work, seeing another artist (not like he or I are even remotely the first...) who is using organic shapes and a light source to complete the work made me very excited. I usually gauge how much work moves me by how quickly I think to myself "I want to do that too." Of course I would never blatantly copy another artists work, unless for purely learning reasons and then I would never show the work as my own. Duh.  But I like to think how that specific artists work, and statement about the work, intersect with my own and then what I could use to 'make it mine' or enhance something I am working on.

Stephen Knapp

I had already been thinking about how I can make my porcelain surfaces more reflective and how the reflection would interact with the viewer and the piece. I remember from my last contract in CORE studio last semester that I wanted my shards to hang from the ceiling (or from a structure or whatever) and then have bits of mirror on them and when the projector was shining, the room with dance with the light. Thankfully my studio instructor Lisa kept reigning in my flood of ideas and I ended up with the floor piece and the wall work.

These lightpaintings are also a revelation to me because as much as I would like to be a master painter, the chances of that happening in my lifetime are slim. This has made me think how I can apply my own skills and 'vision' and make paintings of my own, but with materials that are more familiar to me.  Even before seeing this show my sketchbook was quickly becoming filled with ideas for work along these lines and seeing Mr. Knapp's work has inspired me to go even further - to 'get dirty' with the ideas.  It is sometimes frustrating being in Florida for the summer for me because I cannot act on these clay urges as quickly as I could at home in my brand spankin' new studio. (What's even worse is that the one clay/ceramic studio in town where I COULD get my hands dirty is now a Jiu-Jitsu place - SOOOOO not the same experience.)

lightpaintings by Stephen Knapp

Seeing his work also makes me think alot about how the shadows will be cast from the piece. His work is often mounted directly to the wall with brackets and then also mounted on boards/MDF perhaps, and then mounted on the wall. for obvious reasons, the directly mounted pieces of glass have a much bigger impact visually and the scale is almost overwhelming. The 'smaller' pieces that are mounted on wood bothered me at first because their was an additional shadow cast from the mounting. Looking back I realize that those pieces are just as strong to me because I really like the 'frame' that the shadow creates. Very interesting effect.

color color!

One other thing that I struggle with in my shadow work and that this exhibit confirmed to me is that the light source CAN be integrated into the piece and not hidden. In my work I did a combination of hidden light (projections) and the flashlight on the floor. Being in art school often means that even the smallest decisions are going to be attacked if there isn't some deep hidden meaning to their inclusion. In my case, I sometimes just want something shiny and pretty. having a flashlight on the floor had no hidden meaning (but I could bullshit one if I had to...something along the lines of 'the flashlight is the ghost hunters friend and in this case...blah blah blah) No, it was just the light source, and that's ok.

I'm sad that the museum closed and I couldn't go back to buy the show book, which isn't on Amazon, and to just sit in the room and spend time with these pieces.

forest through the trees. by Jeff Herrity Artist

Usually John and I arrive in Naples at the very end of June and so we never get to go to the Naples Museum of Art - it closes on July 1 for the summer. I suppose the few tourists that come here in the summer do not have 'visit art museum' at the top of their to-do list. Luckily, this year we arrived earlier than normal and were able to visit.

I was lured there mostly for the Louise Nevelson: Dawn's Forest installation. I think that I have only seen smaller works and larger works but in black. In white they have a completely different presence and both John and I wondered how they were lit at night and what that did to them.

We weren't allowed to take pictures of it, and being the ever obedient museum goer, I took as many sneaky shots as I could. The one above is from the museum website. The ones below just magically appeared on my iPhone. Art elves put them there...

From the ground level, you can get a great feel for the scale of these giant pieces, some of them up to or over 28 feet in height, and then several hanging from the glass-domed ceiling like the spanish moss that is everywhere down here lazily drooping towards the ground.

From above, the second floor of the museum I took the picture looking down and was once again struck by what the shadows do to the work - it borders on chaotic. But I still love it and her all of her other work.