Peter Mars

<table width="100%" height="100%" align="center" border="0" HSpace="0" VSpace="0"><tr> <td align="center"> <a class="ClickToAdd" href="http://ww4.ezpics.net/gh/Upload_PublicImages+Username=hallmarkrm+ClientUsername=+ServiceName=PeterMars"> Click Here To Add Your Picture</a><BR> <Table align="center" width="100%"> <TR> <TD align="center"> <h1 class="Title">Peter Mars</h1> </td></tr></table> <Table align="center" width="139"> <TR> <TD align="left"> <A HREF=http://www.hallmarkrm.com/gh/SlideShow+RPIC=+wa=+Username=hallmarkrm+ClientUsername=+Service=FilmStrip+ServiceName=PeterMars+PIC=12+auto=0+return=> <font color=#000000><img src="http://ww4.ezpics.net/button/DoubleArrowLeft+noshadow=yes+bg=%23FFFFFF+font=Activa_Bold+size=13+color=%23000000" Alt="Previous Image" Border=0></font><br><font FACE=",,Arial" size="2" color="">Prev</font></A></TD> <TD align="right"> <A HREF=http://www.hallmarkrm.com/gh/SlideShow+RPIC=+wa=+Username=hallmarkrm+ClientUsername=+Service=FilmStrip+ServiceName=PeterMars+PIC=14+auto=0+return=> <font color=#000000><img src="http://ww4.ezpics.net/button/DoubleArrowRight+noshadow=yes+bg=%23FFFFFF+font=Activa_Bold+size=13+color=%23000000" Alt="Next Image" Border=0></font><br><font FACE=",,Arial" size="2" color="">Next</font></A></TD> </TR></table> <h3 style="margin-top:0px; margin-bottom:0px; padding:0px; text-align: center;"> <IMG class="MainImg" SRC="http://pictures.ezpics.net/Photos/Art/ezpics.net/hallmarkrm/PeterMars/13.jpg?07042OehjwIgLIx" ALT=" Tim Martin - Peter Mars - Hallmark Galleries" Name="Peter Mars" LongDesc="http://www.hallmarkrm.com/hallmarkrm/PeterMars/go+PIC=13" BORDER="0" VSPACE="0" HSPACE="0"> </h3> <div class="Text"><BR>"See a sign and you hear America singing."—Walt Whitman <br> <br> Peter Mars has been the leader of Chicago`s Avant Pop Movement for the past fifteen years. Combining avant-garde innovation with a deep Pop Art sensibility, Mars fuses and confuses the traditional distinctions between high culture and low art. The artist`s sensibilities fall somewhere between Dada and Pop, "In that area where nonsense and popular culture so frequently meet." <br> <br> "Leader of Chicago`s Avant Pop Movement" Chicago Sun Times <br> <br> Using the joy and nostalgia that can be found in everyday objects, Mars explores American culture, the passage of time, and the icons that each period adopts as its own. Billboard advertisements with years of old ads peeling through, outmoded wallpaper designs overprinted with modern icons, recognizable typography overlaps young female faces, antique Coca Cola logos juxtaposed with a fresh-faced Elvis —each elicits a multiplicity of American eras and cultural identities. <br> <br> "Witty and excitingly of the moment" New Orleans Times Picayune <br> <br> Much of Mars` work reflects the pop culture of his childhood in the 1960s and 70s, notably the idealized American family, comic book figures, and "space age" invention. In magazine advertising, product design, and television programming Mars finds a fertile language with which to work. To say that Mars appropriates these images, however, does not capture the rich exchange of ideas that takes place on canvas. These are dialogues, every bit as much "collaborations" as the work Mars created with notable "outsider" artists Howard Finster, R.A. Miller, Wesley Willis and "Big Al" Taplet. <br> <br> Born in Portland, Oregon in 1959, Peter Mars began collecting at an early age: match packs, comic books, baseball cards, arrowheads, coins and later, motorcycles. Rather than striving to compile exhaustive collections, Mars sought "separate images of beauty," small treasures that "tell the story of American popular culture." <br> <br> Using silkscreen as his medium of choice, Mars is able to engage his subject matter in a way that lets images "speak their own language." In juxtaposition, they agree or disagree, emphasize or interrupt, as if in animated conversation. The result is textured, complex, wry, and always more than the sum of its parts. <br> <br> "A mixture of spiritual consumerism, banality, and resonant mystery" New Orleans Art Review <br> <br> Peter Mars` work appears in galleries from coast to coast and can be found in the collections of: Nate Berkus, Oprah`s Interior Designer, Sheryl Crow, Michael Jordan, Betsey Johnson, Halo Industries, Tow Records, Elisa Behnk, Former Director of Public Information and Marketing for The Carnegie, Warhol and MOMA Museums and Mr. & Mrs. John Heinz Waller. <br> <br> Articulate and amusing, Peter Mars speaks with unassuming clarity about his inspirations, education and collaborations: <br> <br> On images and objects: <br> <br> Found objects are fun! "It was a running joke in our family that I never looked up. Wherever I was as a kid I was always looking down at the ground, looking for stuff—arrowheads, pennies, agates—I was always on the lookout for this kind of treasure. I still draw lots of inspiration from these things we find in our everyday life, things we see all around us." <br> <br> The "space age": <br> <br> "I loved TV shows like Lost in Space, and Fireball XL-5. I particularly liked the robot on Lost in Space. I remember how thrilled I was when President Kennedy came on TV and promised us that soon we would each have our own personal robot. I remember how he said we were gonna have robots to walk the dog and everything! I just couldn`t wait to grow up so I could start to work with my robot. When that didn`t happen, I was sad." <br> <br> On printmaking: <br> <br> "Right away I loved the feeling of working with silk and ink and that sense of excitement never seems to fade. I love the high spinning sound you hear when you pull the ink across the silk. But most of all, I love that final breathtaking moment when you lift the screen from the paper and the image appears, as if by magic!" <br> <br> "A master craftsman, who will teach you his closely guarded secrets, is very hard to find, so I was very fortunate when an artist friend introduced me to Dale Milford, a master printmaker working for the New Orleans Contemporary Arts Center. Milford was the only one who generously shared his many years of knowledge and skills... he let me spend countless hours in his shop, learning all the processes and methods he knew." On music: <br> <br> Pop music—"In the past, I would go into my Chicago neighborhood where House Music and DJ culture originated. Music has always been a major part of my life and artistic endeavors. I`ve played in bands all my life and was heavily involved in the JUXTAPOZ and House Music Culture where I hosted hundreds of DJ events. With my art, I feel I am juxtaposing, sampling recombining, DJ-ing the visuals. To me music and painting are a lot alike and I think a painting can be as easy to understand as a song on the radio. If I like it, and it feels good to me, I want to hear it again. That`s what makes it a good song or a good painting. To me, music and painting are a lot alike." <br> <br> "Often I will dream about art and specific paintings will come to me in explicit detail. Other times, I`ll receive an idea for a unique combination of colors... I often use meditation to get inspired and to stay in touch with my creativity." "When I was living in New Orleans, I came upon a print by Alexander Calder that totally changed the direction of my art. I was drawn in by its big broad flat sweeping strokes of color. When I learned that it was a serigraph, I said to myself, okay, I have to learn how to do that, whatever it is." <br> <br> Howard Finster: <br> <br> "In the early 80`s I met Howard Finster, the grandfather of the American Outsider movement, and we worked together for many years until his death in 1999." <br> <br> "One year Howard did a poster for a show and on it he wrote, It is fun to work with Earth`s People, so he knew how different he was. He was so inspiring and his enthusiasm for life and art were absolutely contagious. He loved all the same pop culture and iconic imagery that I did...so we related on all of that. Eventually as the years passed, we started collaborating on artworks. <br> <br> "I had found a bunch of really cool display materials that were being thrown out of an old paper goods factory. They were these funny signs that read Ever- Krisp Potato Chip Company, in a red, white and blue, 1940s style logo. I took these discarded signs, added some of my images and then gave them to Howard. We both tapped into this whole red white and blue thing. We both loved to drink Coca Cola and interpreted anything Coke as representing America. The red and white flow of the Coke logo is like a waving American flag, or as Howard and I saw it, America`s National Logo. (This was before his American Flag series)." <br> <br> "Howard`s work is jam packed with references to Popular Culture. He loved Elvis, Marilyn, Hank Williams, Coca Cola, Ben Franklin and the Mona Lisa. So in many ways, we were worlds apart, but spoke the same language. We were able to communicate like two space aliens that find each other on a distant planet." <br> <br> Wesley Willis: <br> <br> "I knew Wesley for many years and we used to hang out together above the old Genesis Art Store in Chicago. I would create a silkscreen of logos and TV characters first and then Wesley would write his lyrics from the 'Art Joyride` tour, literally on top of my artwork." <br> <br> They are very simple... hilarious and scary, all at the same time. He drew pictures of billboards, complete with slogans... he was very Avant Pop...he would end a lot of his songs and artwork with a corporate sales slogan. He would scream out in some kind of extreme punk growl, Magnavox: the quality goes in before the name goes on. I think ultimately this is why the Beastie Boys found his work so compelling and why they chose to collaborate with him. In my mind their music is pure Pop Art, and I think they saw that Wesley had this going on, to the extreme." <br> <br> R.A. Miller: <br> <br> "Ruben Miller`s primary art form is the tin whirligig and life size figures or what most would consider lawn art. He utilizes whatever materials are at hand: house paint, markers, cardboard scraps, metal and wood. He is totally unafraid to take a marker, draw crudely fashioned pictures of snakes, angels, devils and dinosaurs onto a piece of board, hang it on the wall and say it`s a painting. This takes a lot of guts and I really admire that. I especially learned from collaborating with him, fearlessness to move ahead and into un- proven areas, without second guessing myself. His drawings look like they were done by a five year old, but they have the wisdom and sagacity of an old man. They are incredibly powerful images because of that. My favorite Miller in my collection is a painting of the devil, titled 'Nighttime is Devil Time,` but that is more telling of me, than of Miller. <br> <br> "Big Al" Taplet: <br> <br> "Big Al Taplet is a New Orleans Shoe Shine Man and Folk artist. He is called 'Big Al` because he was born a few minutes before his twin brother, 'Little Al.`. In a town full of characters, 'Big Al` is one of the most loved. His booming laugh, wall-to-wall smile and his storytelling abilities, are unmatched. I meet him at the beginning of my art career and was initially attracted to his personality, but as I delved into his artistic methods, I started to see his artwork as completely Outsider Avant Pop" "His paintings are mostly pictures of shoes with messages about proper shoe- care. 'Treat 'em right, and they`ll stay tight, there`s nothing so fine as a good Shoe Shine`. They are very fun, humorous and the ultimate Pop Art because it is actual advertising. When we collaborated, I would silkscreen something like the word "Special !" and then have Big Al put his shoe ads all over my images. The combination was magical for us both." <br> <br> On his own art: <br> <br> "If you look at the collaborations between Warhol and Basquiat, you will understand what my art is about. In the mid-to-late 80s, with the death of these two leaders, I felt this was "my place". Like the trail of breadcrumbs left by the advance party, these previous explorers had ventured this far into the unexplained forest and the next generation of Pop Artists would need to start from where they left off." <br> <br> "I was coming up right behind them and I would start at the end of their trail. This was and is, Avant Pop. Just a carrying on...with the troops continuing to march into unknown territory and with any military venture... you have to be fearless in order to accomplish great things". </div> </CENTER> </FONT> <BR> <center> <font size="2" face="Times New Roman">Website: <a href="http://www.hallmarkrm.com" target="_top">http://www.hallmarkrm.com</a> - <a href="http://www.hallmarkrm.com/sitemap.xml" target="_blank">Sitemap</a> - Phone: 760-341-7434<br> All Text and Images Copyright Tim Martin. 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