Artist cell home No Frame

cell painting

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Agency / Announcement

2008-2011, oil on canvas, 84" x 120" diptych

Folding Over a Mountain (work in progress)

2008-2011, oil on canvas, 76" x 112"

Fill Up Your Mind With All You Can Know

2008-2011, oil on canvas, 45" x 154" triptych

Getting the Inputs Right

2009, oil on canvas, 45" x 102" triptych

Oh, There You Are

2007-2010, oil on canvas, 112" x 76"

Gravel Hungry

2010, oil on canvas, 76" x 112"

Bangkok Pedestrian Mall

2007, oil on canvas, 40" x 60"

Wish and Tame (work in progress)

2007-2011, oil on canvas, each 84" x 60"

Ah Di Na / Wintu

2005-2011, oil on canvas, 70" x 135"

Deterrent

2010, oil on canvas, 45" x 60"

No Frame

For James Leisenring

2009, oil on canvas, 76" x 112"

For performance projects that involve painting, please go to

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No Frame

Propagations

The Propagations are performative installations -- they address the idea of the Wild more through their process than their specific imagery. The temporal practice of painting is undomesticated by the circumvention of ideas of resolution, finish and control, and they have thus become lifetime "works in progress". They may enter the public dialogue via temporary installation, eventually returning to their studio to resume their evolution.

Currencies

The Currencies Project embraces the alchemical transubstantiation of cash. The identity of the dollar bill is altered and then sent back out into the commerical wilderness. In one series they are deforested, but the waste products of this process are repurposed into alternative, re-wilded monies.

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cell propogations

cell bio BioTed Andersen lives in Northern California, near the banks of the cow-muddied Americano Creek. Sometime after receiving a BA from UC Berkeley and an MFA from Temple University, he pursued a course of post-graduate study at Sonoma State University in Hydrology and Environmental Planning and Mitigation. This led to ten years as an Environmental Restoration Engineer with Circuit Rider Productions in Windsor, CA. After this, he was part of the founding faculty at the Oxbow School, in Napa CA, helping design their curriculum, and teaching painting and drawing there for five years. He has also taught at California College of the Arts in Oakland. Ted Andersen's work was selected for New American Paintings, Issue #73 (curated by Alma Ruiz of LAMOCA). He has had solo exhibitions at the Lawrence Oliver Gallery in Philadelphia, PA, and he has been in group exhibitions at the Marin Museum of Contemporary Art (curated by Kenneth Baker of the SF Chronicle) and in Current Trends in Bay Area Art at the San Mateo Art Foundation, and most recently in the Outlandish exhibition at the Bedford Gallery, curated by Allison Gass of SFMOMA. His favorite color is water.StatementHeading out to the woodshed is a phrase used by musicians for a concentrated period of practice and regeneration. My version of this feverish retreat was to spend a decade trudging through messed-up watersheds across Northern California, planting trees in the exhausted and embattled spaces that border the sprawl of the suburbs. After thousands of nursery pots lay empty in the mud, and the rows and rows of seedling-trees began their fragile mimicry of the Wild, I wondered if I could translate all the questions that this strange landscape was asking me into another language. An immersion in Environmental Restoration involves not a soulful escape to the sublime beauty of nature, but a negotiation with the cast-off and degraded sites of our culture –-- a frustrating purgatory made up of golf course edges, dump sites and Big Box backyards. These landscapes keep begging the question: What is authentic? What is native? Is a "designed “wild"’ possible? For Restoration is fraught with a despairing anxiety –-- that the same hubris that destroyed a place is now operating behind the optimistic effort to repair it.My process is rooted in the ambiguous territory where an activist wilderness aesthetic becomes confused by the grey areas of compromise and ambivalence. My navigation thru this untidy terrain involves both interventionist cultural projects, time based performance pieces, and two dimensional works. The works chart human systems of order colliding into the umanageable.In the paintings, discordant realisms and ideas are layered one over the other until the image becomes unruly, and the viewer is inundated by a thicketed space. I hope to re-wild the act of seeing . . . to confound the gaze, and have the viewer oscillate between grasping and vertigo, unmoored from horizon or ground. In the studio I am forever assessing whether the work is becoming too clear and understandable, or too chaotic and elusive. I want the paintings to exist in the over-saturated mid-point, in a just-unraveling knot of representation.Rather than depicting a specific place, or deriving their content from representational imagery -- the works conceptually source their visual language from bureaucratic environmental science -- such authoritative diagrams as Department of Forestry hierarchical flow charts, restoration planting maps, and office floor plans for my local county Water Agency -- all unabashed systems of order that in the paintings eventually become overwhelmed by a deluge of foliated information.These are navigations through a crisis of mastery. Essential to their process is my absurdly inefficient use of a tiny #1 brush -- in such large-scale paintings, this practice effectively short-circuits any grandiose statement. Control becomes impossible before such a hyper-complex environment. The audacity of resolution is derailed by both the folly of imploding human design, and by the feral anarchy of wild diversity.
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Re-Wilded Dollar, 2011

Dollar with collaged dollar fragments

(ongoing edition, five thus far . . . released back out into the commercial wilderness)

Currency for a Watershed, 2011

Collaged Dollar Fragments, two-sided

(ongoing edition, two thus far . . . )

Catch and Release, 2009-2011

Dollar with removed fragments (fragments used in the above two editions)

(ongoing edition, 92 thus far . . . released back out into the commercial wilderness)

cell propogations

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Tree

1990-2011 (work in progress)

Oil on Canvas,

111" x 153" triptych

Tree (detail)

1990-2011 (work in progress)

Oil on Canvas, detail approx. 28" x 32"

Tree (detail)

1990-2011 (work in progress)

Oil on Canvas, detail approx. 20" x 22"

Tree (detail)

1990-2011 (work in progress)

Oil on Canvas, detail approx. 16" x 20"

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