Monday, February 23, 2009

Everett Tetz

I am not a close friend to Everett. At all, really.

Actually, I barely know him.

But I feel like I do whenever I see his artwork. I first saw this collection of sketches/mixed media during the final critique of our one art class together. Everyone in class did, maybe, one portrait, or two at most. Then Everett comes in and takes up half the wall in the crit room to line up a series of single portraits to make one, big meta-portrait. We all went green over the brilliancy of his concept, but you can't really get mad at Everett because he is so modest. Just like his artwork.

Everett is a tough-looking guy whose got tattoo sleeves, wears black Chuck Taylors, and is confident enough to have Britney's "I'm a Slave 4 U" on his iPod playlist. You'd never guess that this is the guy who has the much needed sensitivity to wield his charcoal in such delicate treatment. This series of sketches and dribbled paint and newspaper cutouts and random red paper fragments is capturing without being ostentatious. The light mood of the sketches generates a level of vulnerability for each nude subject --- note, the portrait of his father (who happens to look like a carbon copy of Everett). Fluid connectedness is a feeling carried on through each individual portrait, like the red IV tube of blood coming from his father's arm in a picture that is so moving, the moment captured feels locked and still.

Even after two years, I am still fascinated.

Anyways, I never asked his permission to post any of these, but seeing as how I stole them from Facebook, I'm only giving him greater publicity, is all. Besides, it's a pity to hide such original, understated artwork.

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