Exhibition Review: "Shift" and "Big House" Perfectly Paired at DENK Gallery, by Genie Davis, artandcakela.com, published February 2018 (link)



Exhibition Review: Frank Stockton at DENK, Los Angeles, by Beatrice Chassepot, beartmagazine.com, published February 2018 (link)
Press Release for "Big House" exhibition at Denk Gallery in 2018. By Marieke Treilhard
Statement from "New American Paintings #133," January 2018:

"The imagery I begin with typically confesses to a rite of passage, sexual awakening, or some other coming-of-age tale.

I call some of the recent work “gutter” paintings, which is a reference to the the gap between cells in a comic strip. These larger pieces are constructions of many small canvases clustered into a grid formation that may suggest a spatial, narrative, or symbolic meaning to the viewer.

Another group of paintings begins with similar source imagery, but differs from the “gutter” paintings in that the images are progressively superimposed on a single canvas."


American Genre: Contemporary Painting symposium recording at the Maine College of Art from September 15, 2017
(scroll down to "On Genre: A Painting Symposium..." and click the tab to access the Podcast Recordings)



Statement for "American Genre: Contemporary Painting" exhibition (regarding Swimmer, 2017):

"Every time I visit New York, I try to visit a particular Cézanne painting in the permanent collection at MoMA.

In the Cézanne, a youthful male bather carefully steps forward with his left foot, hands resting on hips, in a dreamlike overcast landscape by the sea. The picture is compelling because it seems to occupy several positions at once -- strength, fragility, confidence, vulnerability, presence and preoccupation -- in both the painter and his subject.

The source image for Swimmer was a found image of the American Olympian athlete Kathleen Gieneveve “Katie” Ledecky. I think I was drawn to the picture because I could sense a similar countenance in the subject to that of the Cézanne, which I have tried to capture here in my own way."



Statement from "New American Paintings #129," April/May 2017:

"What histories, mythologies, and expectations have I inherited through accident of birth, and what might they reveal about my relationship to power in the world? What role do beliefs, memories, and direct observations play? How can we straddle the line between homage and critique of our past while upholding progressive values?

These paintings are the result of an intimate examination of an evolving American identity with a spotlight on the pubescent years. As a result of this examination, a multitude of literary and actual events from our time have been combined with reconstructed physical forms to incite reflection.

Tension between confession and improvisation is the primary generative principle governing my work. False starts, indecisiveness, and attempts to arrive at certainty allow for a coalescing of clarity, diffusion, and uncertainty within the same composition. The countenance of these works is intrinsically linked to the process of decision-making and evolving existential musings on art and life."



"Origin Stories" by Daphne Rozenblatt: A review of Frank J. Stockton's exhibition at the Samuel Freeman Gallery in 2016


Exhibition Review: In Portland, Taking Painting to Unexpected Places Boston Globe, August 17, 2017


Exhibition Review: Emerging Artist: Frank Stockton at Samuel Freeman, Be-Art Magazine, May 21, 2016

Files:

fstockton@gmail.com