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New "Perspectives" come to Glenwood

Stina Sieg
Post Independent Staff
Glenwood Springs CO Colorado
Courtesy photo
ALL |

GLENWOOD SPRINGS, Colorado ” In Ron Hoeksema’s words, he’s always been drawn to the “bigness” of Colorado’s wide open spaces. That’s what brought him to the West, and that’s what made him start depicting its vast landscapes in silk screens almost three decades ago. In the years since, he’s gone into impressionist painting and, most recently, abstraction. His newest show, “Shifts in Perspectives,” is a retrospective of sorts. For the Ridgway artist, it’s also one last look back at the different aspects of his career ” before he dives into abstraction full-force.

As he put it, “Basically, I’m unleashed after this show

“I started doing it as a kid, drawing, and my parents fostered it. I didn’t go to art school or take art in high school or college, and I was a science teacher, and it was just a hobby, and it took off when I started doing it with with my sister. We sort of teamed up in 1980, and we both sort of made the move, we were both working separate jobs in Denver.”



She was “really” the artist, he explained, and he was supposed to just be the printer and work at the gallery. But all of a sudden, he realized he liked doing his own thing in screen printing. At 33, he took a leave of absence from his job teaching high school biology ” and never went back.

“Right, ’cause I started out with the screen printing and I did that for almost 16-17 years. And that was fairly unique, doing my own paintings and using that technique. And then I got into oil painting, around ’96-97 … I liked the impressionist style, so that’s what I worked with, doing Western landscapes. And then, finally, I’d say, I always had this sort of urge to ultimately do some abstraction. And so, it was about a year ago, I thought ‘Now’s the time.’ The market was soft, and I think it was probably a feeling of either retire or try something, try something new. So, I’m really going for that. … This is something I’m really doing for myself. And because in the Western towns, you’re doing it mostly for tourists, so abstraction is usually not something you do in a tourist gallery. So, I guess this is going for it for my own ” not necessarily a need ” but for growth and for a challenge. So that’s what the show is. In a way, it’s almost a retrospective.”



“No. I was really excited. I’d collected pieces and magazine things, photographs of other people’s work for 10 years, so I was drawn to it. So, there’s always the nervous thing where you’re putting it on the canvas, because, you know, I’ve always drawn within the lines. It’s not like a kid coloring, missing the lines. It’s trying to do it on purpose, going outside the lines on purpose. … Going from even the stencil form of printing to impressionism was a big leap for me, and now I’m taking another leap. So, maybe there’s always a little fear when you’re looking at a blank canvas.”

“Yes, even though I still see things as before, I’d like to capture that. But then you think of capturing the scene, but it’s not the scene. It’s something deeper than that. The light and something, you know? And once I started doing it, and I really started doing it this year, boy, it felt good again, like it did originally back in the early ’80s when I was doing the silk screening, you know. That was a big wowie thing for the first few years and the same when I started the impressionism painting again. When you’d lose yourself in a painting for a couple hours, and all of a sudden it was there. That’s just amazing. And then you see it on a wall later on and somebody frames it, and it’s, wow, that’s something. It’s like, who did that? Who did that?

“Not really, because they get things I might not even be trying to do. It’s really ” I’m giving them catalysts. I’m giving them little, they could be mementos in some cases. I realize that’s more sharing my eye, but they don’t have to see what I saw. From my eye, I’m just sharing what I saw, and maybe they’ll get something from it. And that will tweak something in their eye and mine to do maybe something totally different. …I’m not trying to give them something to get. I’m just sharing something that I felt or saw, and whether they feel it or not doesn’t matter. The fact that they feel something is enough. … The landscape did that for me. So that’s why I’m portraying it.”

“The thing is, it’s not art anymore. Art’s almost a sideshow. It was a real big thing when I first started in the ’80s, way too much, and now it’s almost using some of the things that run into my relationships with people. Some of the greatest moments of life are where you lose yourself, and you and lose yourself in art. I’m not trying to, but ultimately, that’s probably the biggest thing is to lose myself in art, and in losing ” this just seems so cliche (laughing) ” in losing, you actually find another thing. And it’s not necessarily your true self, but you’ve given up that grasping that you had with the ego, who you are and all that. And it’s not really being an artist anymore. It’s just being.”


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