From mundane chores to intimate first experiences, the painter Ryan Richey presents details of life in middle America with irony, wit, and an ability to chuckle at even the hardest of life experiences. The COMP Magazine recently visited Richey’s Ukrainian Village studio in the near west side of Chicago to discuss his early years growing up in a small rural town in Indiana, the power of the center in his paintings, the necessity of regularly seeing the lighter side in life, and his collaborative efforts with the folk-thrash-hop duo Hannis Pannis.
Ryan Richey, Sleep all Summer, oil on panel, 16″ x 20″, 2016
You are from (the metropolis of) Knightsown, Indiana? This rural community sits east of Indianapolis off route 40. Having grown up in Indy, I have a preconceived impression that this rural upbringing consisted of farming and the extra curricular activity of cow tipping. I trust I am certainly off mark there. What was it like growing up in this environment? Do you see any early experiences having an impact on your current art practice?
Knightstown, Indiana was the closest place to us that had a post office. Except for a few years living there in HUD housing, we mostly lived outside of town around the cornfields. It was a place where everyone knew everyone, but mostly kept to themselves. You have the same teachers as your parents. There’s a good chance you copied down the same notes. Growing up in a small world resulted in my imagination becoming larger than life. I began to live inside my head a lot, which got me through all kinds of experiences. Later in Grad school I wrote about everything in my life and that’s my jumping off point when making paintings.
Ryan Richey, Backseat Driver, oil on canvas, 16″ x 20″, 2015
I sense that you have a rather easily accessed sense of humor when I look at your work. This can be seen in the content and painting palette. Do you have any specific satirical ideas or strategies that you regularly investigate?
Humor is my refuge. It is how I turn lemons into lemonade. I depicted my abusive step-dad as a brightly-colored velvet green Ottoman.
My grandmother’s passing was realized by a quilt she had made of her dresses covering her underneath sunshine through the blinds.
As is life not everything is sad. I recently completed a wonderful painting referencing when I held onto the windshield of car as it off-roaded through a field.
Ryan Richey, Big Mouth, oil on canvas, 8″ x 10″, 2014
Many of your works employ a strong application of symmetry. When looking at the work, I am drawn immediately to the center. I see this treatment in many of the paintings in the series, Overdose Summer. Can you offer any insight to this observation, and perhaps, discuss the tactile side of your aesthetic practice?
I like to have just enough there in my paintings for the viewer to get it. Centering as well as cropping is some of the visual tools I use to get to the point.
Ryan Richey, First Dance, oil on canvas, 14″ x 12″, 2013
The textures of my paintings are part of the reason I’m making my images paintings and not another medium. However I couldn’t get all the textures I wanted just with oil paint, so I started building up the surfaces with gesso and whittling away at them with a kitchen knife before adding the oils.
Ryan Richey, Over the Bridge, oil on canvas, 24″ x 22″, 2014
So, what’s Hannis Pannis? This looks to be a collaborative effort?
Hannis Pannis is a collaboration with Chris Lin that’s been one of my most rewarding experiences where we make music, visual work, writing and fun.
I’m passionate about the power of collaboration. We are stronger together. I’ve been lucky to be a part of a number of successful collaborations such as: ED JR.
Ryan Richey, Artist/Server, oil on canvas, 6″ x 12″, 2015
What do you value most in the process of painting?
I am addicted to the process. When I begin a painting I am excited about the possibilities, but also feel like I don’t know what I’m doing. The doubts build as I progress. Somewhere in the middle to two-thirds the way through, I’m pretty sure that I have ruined the painting. During this time, I keep at it, because I’ve done it before. Finally, a move happens where everything is saved and I’ve made a painting that I like. Then I wonder if I can ever do any better than that again.
Ryan Richey, If you tell me it looks good, I’ll wear it forever., oil on canvas, 18″ x 16″, 2014
What’s on tap for the remainder of the year? Do you have any projects or exhibitions in the works?
Opening on June 17th at the McCormick Gallery, I am in group show “How Much Land” that’s curated by Jessica Cochran. In August 2016, I have a solo show, “Everyday Romances” at Illinois Wesleyan University. Additionally, ADDS DONNA will begin our programming this September in our new space.
For additional information on the paintings of Ryan Richey, please visit:
Ryan Richey – http://ryanbrichey.com/home.html
Shane Campbell Gallery – http://www.shanecampbellgallery.com/chicago-and-vicinity-2016/
Thomas McCormick Gallery – http://www.thomasmccormick.com/exhibitions/99
Additional artworks by Ryan Richey:
Ryan Richey, When you rubbed my shoulders, it made me realize that we all have skeletons., oil on canvas, 22″ x 20″, 2015
Ryan Richey, Sigh, oil on canvas, 14″ x 10″, 2015
Ryan Richey, Laundry Day, oil on canvas, 18″ x 20″, 2014
Ryan Richey, painter, Chicago, IL, 2016
Artist interview and portrait by Chester Alamo-Costello
