Whitfield Lovell

by Tom Otterness

Installation view with the artist and a work in progress, January 2005. Photo: Katrin Grotepass.

The interior of the “object” of the home, the objects that furnish these homes, the objects that absent people once used: chairs, beds, glasses, guns, medicine bottles, tools, tubas and record players are in the foreground, while reserved, watchful figures seem to be inside the walls that envelop us as we enter someone’s long abandoned home. The drawings fade into the grain of the wood or emerge from under partially stripped paint and wallpaper. They are a kind of growth history or natural time line-not unlike the tree rings of the wooden walls that make up their camouflaging background, marking droughts, fires and floods. Ceremonial photos of weddings, funerals, children and military uniforms are the pictographs left to us from the cultural tree Whitfield Lovell describes. &npsp;

Whitfield's Mother, buy Whitfield. Photo: D. James Dee.

Sanctuary: The Great Dismal Swamp, 2001–2003, Installation view, Contemporary Art Center of Virginia. All images courtesy of the artist and DC Moore, New York.

Beauty Without Regret, 2004, Charcoal on wood with shell casings and shelf, 45 x 25 x 13 ½".

Epoch, 2001, Charcoal on wood and found objects, 77 ½ x 55 x 17 ½".

Spring 2005
The cover of BOMB 91