{"id":10776,"date":"2024-11-22T01:39:30","date_gmt":"2024-11-22T01:39:30","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=10776"},"modified":"2024-11-22T15:26:19","modified_gmt":"2024-11-22T15:26:19","slug":"santellis-inner-visions","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=10776","title":{"rendered":"Santelli’s inner visions"},"content":{"rendered":"
\"\"

Flash Instant, acrylic on canvas on aluminum panel<\/p><\/div>\n

When Bill Santelli was seven years old, in 1960, he discovered Jackson Pollock in Life<\/em> magazine, and it changed his life.\u00a0 He walked up to his mother and said, \u201cI\u2019m going to France to become an artist.\u201d On his way to France, he didn\u2019t make it past his mother, nor did he get there to study art when he was older, though he flew to Paris during his honeymoon with his wife partly on a mission to see Pollock\u2019s The Deep<\/em> at the Pompidou Center. When he came of age, he went to live and work in L.A.<\/p>\n

During his talk for his new solo exhibition\u2019s opening at SUNY\/Finger Lakes Community College, he said, \u201cAlong the way, it was necessary to earn money to keep painting, and so began shadow-careers in education and arts-related businesses. I forged an independent lifestyle that way. I\u2019ve held positions as a high school art teacher; archival picture framer; manager of the largest antique print gallery on the west coast\u00a0in LA;\u00a0sales person and book buyer for an art supply company.\u201d Eventually, in 1991, he was able to make a living as a painter without any side hustles partly by learning to market his work himself in an era when it was easier to work with agents to promote work. \u201cIn art, survival is success.\u201d<\/p>\n

He’s done far more than survive. As Barron Naegel, the gallery\u2019s director, pointed out in his introduction to Santelli\u2019s talk, he has combined his painting, his spirituality, and his life in general into one nearly seamless activity. When he was in L.A. he attended talks by Krishnamurti, in Ojai, and has continued to study the transcripts of those famous non-sectarian spiritual conversations all his life. He has always been captivated by Krishnamurti\u2019s simple emphasis on being ceaselessly vigilant over the flow of one\u2019s thoughts and the chattering of one\u2019s interior voice as a way of disengaging from that flow of thoughts in order disengage from thinking by observing it rather than identifying with it. What arises is stillness and awareness: a vigilance about one’s own thinking and behavior. Much of Santelli\u2019s studio time is passed in silence. He doesn\u2019t listen to anything while painting. His approach to his abstractions involves a kind of silent contemplation and attentiveness to what\u2019s happening as he improvises his way toward a sense of completion. When he travelled to the Corcoran a decade ago to see the Diebenkorn retrospective, he spent an entire week, eight hours per day, studying the Ocean Park paintings. When he works in his studio he paints and only paints: no podcasts, no background music, just a contemplative awareness of his own path on the canvas.<\/p>\n

For his talk, he went through his files and found notes he\u2019d put together a quarter century ago, with a quote from Robert Motherwell whose Greenwich studio like Santelli\u2019s was located in his own suburban home: \u201cArt is far less conditioned by crisis than it is by hunches\u00a0and chances pursued in cycles of activity whose duration and productivity reveal the artist\u2019s nature and will. \u00a0For\u00a0anyone making anything over the long haul (or the short),\u00a0getting from thought to thing is difficult and suspenseful enough.\u00a0Decisiveness\u00a0is character, and genuine creative drama unfolds in the order that artistic choices are made in the service of one\u2019s intuitions and in the context of one\u2019s opportunities.\u201d<\/p>\n

It’s hardly an epigrammatic quote, and it\u2019s as abstract as Motherwell\u2019s work itself, but it beautifully captures Santelli\u2019s doggedly professional work schedule as well as his almost mystical probing of what paint can do, his long explorations as he hunts the moving target of whatever makes a painting whole. His show, at Williams-Insalaco Gallery 54, revolves around a wall with his latest numbered series: It\u2019s There in the Humming Air<\/em>. In the past he\u2019s combined hard edges with febrile, organic movements of paint on the surface: shapes that suggest a cosmic order, both macro and micro. You can gaze at one of these canvases and see ghosts of dead galaxies but also networks of dendrites or plant roots. In one of the Humming Air<\/em> paintings, Santelli intentionally or subconsciously creates, along the left side of the canvas, a stack of small surreal landscapes: on top a crescent moon over sea foam like a world out of Edgar Allen Poe\u2019s poetry or Tolkien\u2019s fiction; below it, a dreamlike tunnel or vortex with an illuminated chamber in the distance, what a surfer would see deep in a pipe; next down, what might be the inception of a tornado; and at the bottom, it\u2019s almost as if he\u2019s seeing a confrontation between two figures floating overhead in a storm. You have to move in and really examine these panels, divided by hard-edged strips of color created with masking tape, in order to see these possible scenes, the way someone recognizes shapes in a Rorschach blot. And you can study the entire painting, take it all in, and see none of this, noticing only how well the swirls of color move from left to right, emerging and then melting into one another, like the sound of various instruments in a concerto.<\/p>\n

All of the work is essentially musical, as he pointed out in the talk: you are in a distinct imagined world, related to inner and outer human experience, but there\u2019s no fixed meaning being conveyed, no predetermined end point that establishes when the painting is finished.<\/p>\n

\u201cI believe that when I\u2019m painting, I\u2019m just a conduit for\u2026. a form of higher consciousness (divine or otherwise) . . . to express beauty,\u201d he told the people who gathered for the nearly two-hour talk. \u201cI often work in silence. It\u2019s important to sit quietly with your work. There\u2019s a lot of mystery involved.\u00a0\u00a0A lot I don\u2019t understand.\u00a0\u00a0I wait for something to occur\u2026 and what happens is I end up with a situation where I\u2019m in a dialogue with the work, and the work is talking back to<\/em>\u00a0me\u00a0and\u00a0information is coming back to me,\u00a0and I see the possibilities.\u201d<\/p>\n

He cited his influences: surrealism, geometric abstraction, abstract expressionism and color field painting, all drawing on the what Santelli refers to as the heart\/mind as the source of imagery. He cited his major influences as Jackson Pollock, Dali, Picasso, Ellsworth Kelly, Paul Jenkins, Kenneth Noland, Jasper Johns, and Agnes Martin. Pollock and Jenkins were seminal. His work takes all of these influences as a springboard and by finding a middle space between surrealism and color field, Santelli\u2019s work emerges as distinctly his own. But his aims really are closest to color field and AbEx : \u201cI want to place the viewer in an ambiguous realm, as music does. Imagery arises naturally from the heart\/mind.\u201d<\/p>\n

His current work is mostly acrylic on canvas, though he also does amazingly precise Prismacolor drawings on paper. Some of the most interesting work at the exhibit can be found on one small wall, a collection of small works on paper that are closer to the work of Paul Jenkins than anything else on view. Each painting offers a veil of subtle color that works beautifully together, often suggesting panoramas of shifting, distant light and weather, but just as often\u2014and at the same time\u2014offering a melodic interplay of light and color. It would be wonderful to see him try this on a larger scale.<\/p>\n

In his talk, he described a work process Chuck Close would have admired: \u201cAbstract painting is\u00a0the quiet space of the arts.\u00a0It\u00a0can enable\u00a0the viewer<\/em> to be quiet. \u00a0Abstract painting is not a story.\u00a0 It resists the narrative.\u00a0 It\u2019s all at once. My creative process\u2026 is actually quite simple \u2013 I get up and go into the studio to paint pretty much every day.\u00a0 Being inspired to work is not a problem for me. I don\u2019t do preliminary drawings or designs, preferring instead to \u2018enter the arena\u2019, face the blank canvas, and start working spontaneously from inspiration and experience. I paint the abstract language of colors, forms, and shapes that my eye visualizes, using bold colors to provoke a feeling or sensation that engages the viewer in an emotional exchange with the work. Painting titles set a loose frame of reference but leave room for the viewer\u2019s imagination to make connections, which may or may not be the same as my own.\u201d<\/p>\n

In the Humming Air<\/em> series he applies masking tape and seals the edges to prevent seepage underneath the tape, creating a grid around and within which he plays with fluid acrylic applied to the canvas and then worked with brushes. In other paintings he achieves colors that look misted: \u201cMy paintings sometimes look airbrushed, but they are not. I achieve this effect with a unique brush technique. Personally, I create art to bring beauty and light into our world.\u00a0There\u2019s enough negativity already. Express beauty, some serenity, peace\u2026.\u00a0 I hope that the world evolves in that direction, rather than toward darkness.\u201d<\/p>\n

A \u201cSeries of Moments,\u201d at Gallery 34, is on the first floor of the main campus.<\/em> It opened on <\/em>Nov. 14 and will run through Jan. 17.<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

When Bill Santelli was seven years old, in 1960, he discovered Jackson Pollock in Life magazine, and it changed his life.\u00a0 He walked up to his mother and said, \u201cI\u2019m going to France to become an artist.\u201d On his way to France, he didn\u2019t make it past his mother, nor did he get there to […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-10776","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nSantelli's inner visions - represent<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thedorseypost.com\/?p=10776\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Santelli's inner visions - 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