RICHARD HEINSOHN Bill Lowe Gallery Website CV
Nashville, TN | Painting, Mixed Media, Photography, Time-based
Spanish/American, born in East Tennessee, Richard's mother, Paloma, was the daughter of historically renowned opera tenor, Miguel Fleta.
Heinsohn holds a B.F.A. in painting and drawing from The University of Georgia. He moved to New York City in 1986 and lived and worked there for fifteen years. He has shown repeatedly in group shows at Allan Stone Gallery, most notable of which was the Summer Group Show of 1995 where he was included along with Willem de Kooning, Franz Kline, Eva Hess, Richard Estes, Robert Ryman and other notable artists. Allan Stone collected several of Heinsohn's paintings and supported him extensively.
Richard currently lives and works in Nashville TN. In 2007 he received the "Critic's Pick" from The Nashville Scene for his solo exhibit at Estel Gallery in Nashville which included fourteen paintings. He was featured in The Tennessean for this exhibit. This marked Heinsohn’s return to visual art after a six year hiatus during which he focused on performing and recording music.
In 2010 his work was shown at Preston Contemporary Art Center in New Mexico and at The Lowe Gallery in Atlanta, GA and featured in Nashville Arts Magazine. He is currently represented by The Lowe Gallery.
Recently Heinsohn has received considerable attention for his “Photo Paintings”, a body of new work called ”Time Frames”.
The 2016, April issue of Nashville Arts Magazine ran a feature on “Time Frames” which has been picked up by online publication, Artsocket.
Richard currently teaches painting and drawing at Watkins School of Art Design and Film. He has also taught and lectured at Cheekwood Art and Gardens in Nashville on the "Modern Masters" abstract painting exhibition from the Smithsonian, and at The Frist Center for Visual Art on American painting from The Phillips Collection. Richard has also worked closely with refugee children from Burma, Egypt and Nepal, teaching painting as part of after-school enrichment programs, R.I.S.E. and N.A.Z.A., which are provided by support from the city of Nashville.
In recent years I have been inspired by divergent notions of how we quantify time. When Brian Greene, noted physicist and author, was asked in 2011, what perplexed him the most amidst his studies of parallel universes and dark matter, he responded, "What is time?"
Since then I have been working with that question in mind. We know time as space, time as currency, and we have measures of time upon which we collectively agree like clocks and time zones. I'm calling this geologic or "collective time".
My new work, "Time Frames" presents the possibility of what I'm calling "Personal Time", and relates to the Uncertainty Principle developed in 1927 by Werner Heisenberg, which states that one cannot accurately determine the location and the velocity of an object at the same time.
Personal Time is the perceived rate or velocity of time's passing which varies according to the frequency of changes in lived experience, while collective time is the location of time according to the agreed upon measure of clocks and time zones.
In our contemporary world, the so-called digital age, Personal Time has been entirely altered by technology. We now have a greatly accelerated rate of information spreading and communication, which borders on collapsing chronology as we perceive it. Changes in lived experience happen so quickly that we blur into what author, Tom McCarthy, describes as " a constantly mutating space".
Compared to geologic time, where entire civilizations are reduced to stratified layers in rock and dirt, our total lived experiences are but a nanosecond, and through technology, we are rapidly catching up to this realization. However, sometimes, in traffic, en route to home or work, a red light or a train delay can seem eternal!
These new works function as windows, which enable the viewer to look through time, and gain an enhanced perspective into the nature and proportionality of our lived experience. They begin as still photos of moving images appropriated from the television screen without pausing the film and without photo-shop. In most cases they are shot from an angle so as to distort the image and also to include a reflection of our tableside lamp. The lamp with the zigzag shade is in the room with me at the time the shot is taken, yet often appears to be connected with the actor or the narrative in the film. The thick, lava-like paint swirls and globs represent the ongoing, and far more vast, cosmological or geologic time frame through which we can peer into these layered moments.
Time remains an enigma, even to our top scientists and philosophers. Therefore, confronting viewers with its seemingly infinite perplexities offers at least one greatly enhanced moment.