Although his work is often characterized by critics as abstract, Chris Martin the studio art department's artist-in-residence for Winter term rejects this label.
"My interest in painting has been where painting intersects with life," Martin said in an interview with The Dartmouth.
Martin admits that he has been influenced by the work of abstract expressionists, including Alfred Jensen and Paul Feeley.
However, the artist said he rejects abstract art's turn toward the concept of "form as content," an idea that emerged from the abstract expressionist movement.
"After abstract expressionists, abstract art was hijacked by a group of critics who felt the more abstract painting became, the more it moved toward its destiny, became more pure," Martin said.
Martin said he developed his "obsession" with painting at the age of 14, when he would spend his days listening to James Brown records in his high school's art studio.
Brown a renowned soul singer has continued to influence Martin's work throughout his career as a painter. The Jaffe-Friede Gallery in the Hopkins Center, where Martin's work is currently on display, even includes three tribute pieces to the musician.
According to the studio art department's website, Martin describes his art "as turning up the volume' of painting."
This description refers to both the influence of musicians on Martin's work and the challenges he takes on in his paintings. For example, Martin incorporates everyday objects into his work, adding everything from pom-poms to vinyl records to his pieces sometimes simply painting over them.
In doing so, Martin moves interpretation of his work beyond abstraction.
By adding found objects to his paintings, the artist employs contemporary iconography, using images of commercialism and popular culture to create a dialogue with the viewer.
Martin's work is also influenced by graffiti, which he characterizes as "some of the best abstract painting going on."
The artist's urban lifestyle and exposure to street art are evident in his dynamic use of color.
In his vibrant renderings of mushrooms, for example, Martin breaks up bright hues with thick, dark lines stretching across the canvas.
In contrast to Frank Stella whose work is currently displayed at the Hood Museum of Art Martin does not see creating art as a primarily aesthetic task, in which the artist sets himself structural or visual challenges.
Instead of trying to please critics, Martin said that he takes his own individual artistic approach.
"I'm not interested in form, I'm interested in content," Martin said.
Unlike abstract painters, Martin said he seeks to communicate with viewers through pure content.
To this end, the artist embraces the use of text in his work. For example, he includes a textual "shout-out" to Brown on the canvases of some of his paintings.
"When you communicate with a person, you're not trying to solve the problem of how to talk to them or smile at them," Martin said. "It's an energy transfer."
Martin's work is a testament to this artistic philosophy. The artist-in-residence program was initiated in 1932 with the residency of Carlos Sanchez, who remained on campus for a year to exhibit art and work alongside student artists.
Jose Clemente Orozco followed Sanchez with a two-year residency, during which he painted "The Epic of American Civilization" mural in Baker-Berry Library.
The program has evolved since to sponsor three or four artists each year.
Artists are selected by a committee comprised of six faculty members from the studio art department and Gerald Auten, the exhibition coordinator. The committee chooses artists based on their ability to enhance the department's curriculum and advise students in their work.
