Artist StatementMy work is very much about the process of painting. I have a strong interest of the methods and techniques employed by Renaissance and 19th century painters and have incorporated many into my painting practices. I build each image up from an under painting, selectively adding and subtracting paint from the surface until there is a harmonized consistency to the entire painting. I am interested in the tactility of oil paint and exploring textures that can be achieved through glazes, utilizing the grain of the canvas and thicker areas of paint to create depth on a very thin plane really using the medium to the best of its abilities. One of the things that I am constantly searching for is a way of taking these ideas and using them to create a contemporary image. The subject matter of my work is often simplified figure compositions. I am very interested in limiting the depth of field in the image and creating a shallow space in which the figures reside. Although these spaces are quite intimate, I am not concerned with creating a specific dialogue or narrative between the characters. I like to think of my images as simple vignettes between events or conversations, moments when there is a lingering sense of action, but nothing is happening. Subtly is a major component within all of my work. By narrowing everything down to the essential elements, I am able to investigate the qualities of subtlety in both my technique and subject matter. Through this exploration I have created my own style and visual vocabulary.
Corey Grimsley began his artistic career in Colorado under the instruction of Johnye Nielson. He first studied at Maryland Institute College of Art (MICA) in the summer of 2004, at the school’s pre-college residency program and returned in the fall of 2005 as a BFA candidate in both Painting and Art History. He is anticipating graduation in the spring of 2009. In the fall of 2007 Corey also studied at the Studio Art Center International (SACI) in Florence, Italy. During his time abroad, Corey focused on late Italian Renaissance painting, traditional fresco painting, and painting conservation all of which have played a major roll in the development of his work. Corey’s explores simplified figural compositions composed in very shallow depths of field. He is very concerned with the physical surface of each painting, creating a dialogue through the textures of the linen canvas and thick and thin glazes of oil paint. His interest in the traditional techniques of the Italian masters is inherent in his current body of work. Corey lives and works in Baltimore, Maryland.