Titles of some of Pyle's newest releases — Lawrence of Newark  and Mrs. Burt of Encino 

(both pictured) are among this year's fresh  faces  — might mislead viewers into thinking there  is 

a  Lawrence  or a  Mrs. Burt, but the artist insists there are no actual likenesses portrayed. ''I have

no one in mind when the portraits are conceived and any resemblance to a real person would be accidental,'' explains Pyle. Indeed, unless you walk among woolen people with dreadlocked jawlines, these are not folks you're likely to pass on the street. Thickly matted, braided ballpoint linework bridges the eyes, lips and other recognizable facial features of Pyle's otherwise unrecognizable subjects, every inked strand adding to the cushiony contours of every face. Rhythmic linework flows between those contours; fibrous connections leading from hairlines into headpieces and continuing around to form what could be an ear or otherwise unclassifiable orifice. The artwork itself screams 'album cover !' and titles like  Baby Talk  and  Kentucky Hug  (both pictured) sound like A-side jukebox selections, but Pyle has yet to be approached for a commission. 

Throughout the years that Pyle has been creating these compositions you'd also think someone might've approached him for a portrait commission — a loved one drawn in Pyle's signature style, even if only as novelty — but Pyle claims no one has, and adds that he'd likely not accept the job, believing the style doesn't lend itself to portraiture (he  had, however, drawn caricatures in a completely different style as part of commercial illustration work in the 1990s). Still, more imaginative viewers are sure to recall the 'beehive' of a favorite teacher or the cheekbones of an eccentric aunt in these crocheted characters. In Pyle's parallel universe, Mona Lisa's smile would be situated on loosely spooled bundles of black ballpoint lines. Sunlight remains the greatest threat to ink artwork, but you might also want to keep moths away from  this  artwork, just in case.

Within a year of graduating from CUHK in 2006, Wai was

selling artwork and considering himself a ''professional artist ''. His talent, and the invitingly contemplative compositions it manifests, attracted word-of-mouth

attention within Hong Kong. Positive reviews in Asian art media helped spread the word regionally, then across

oceans. Paul Serfaty, a British art writer and collector

based in Hong Kong, was one such early supporter who

wrote at length, and great depth, about Wai's artwork. Over

time acquainting himself with the artist and his work,

Serfaty has noted the many diametrics of ''being and not

being'' he sees in the work; the ''abstract and real ; big and

small ; meticulous and spontaneous''. Serfaty sees a

''poetry'' in Wai's visuals and elaborated in further

coverage, calling Wai's art ''Beguiling but not dramatic;

intellectually rich but not cerebral detailed and relatively small in execution but not small-scaled in vision; identifiably unique but not ‘iconic’; evolving but not predictable.'' More than a mouthful, to be sure, but Wai's artwork lends itself

to all kinds of such mindful impressions, interpretation

and speculation; one can write volumes contemplating

such work, and Serfaty has. ''The artist has

also said he perceives an elasticity between

image and imagination,'' Serfaty relays from his

conversations with Wai. ''The closer a

rendering approaches 'perfection', the less

it calls on our imagination. The more ill-defined

the perfection, the more our own awareness

is tested. It is a role of art to assist

this imaginative process.''

Click on an image above to read the fully archived article. 

Original content © The Ballpointer / Mahozawari Unlimited.

The fact that ballpoint pens are a staple among 'outsider' art mediums and Carl Hammer Gallery has a reputation as an outlet for 'outsider art'  adds to the confusion. But even the quickest comparison between Pyle's works hanging on Hammer's walls and artwork hanging in quote-unquote 'mainstream' galleries or museums clearly proves equality in content  and  quality. Most, if not all, of Pyle's portraits have been drawn onto 'found paper', usually the blank inner sides of album cover sleeves — in Floradora, a ghostly outline left by the vinyl LP is vaguely discernible, forming a halo encircling Pyle's figure — and many of the earlier portraits were drawn in-transit during down-time while on tour as a drummer. But these circumstances are also not enough to warrant the designation 'outsider'; drawing while on the road with whatever is on hand is common art practice. Pyle is also quick to interject: ''All of my work since 2005 has been done in my studio.''  ​  Continues on  HEADLINES 2  page ... 

C.J. PyleIndianapolis, Indiana


If you happen to sense a musical quality in the ballpoint

and mixed-media drawings of C.J. Pyle, your instincts

are more finely tuned than most. Pyle has led something

of a double life, splitting his time between a drawing

board and a drum kit. He speaks of maintaining a

''regular schedule of performances and studio dates'' as

a professional drummer, but this month  art  takes center

stage with Pyle headlining a solo exhibition at Carl

Hammer gallery in Chicago.
      The artist's relationship with the gallery dates back

more than a decade, and the body of work comprising

this new collection has been part of that relationship

from the start, a series which Pyle informally refers to as

'imaginary portraits'. Carl Hammer featured Floradora,

one of Pyle's earliest 'portraits' (pictured, top-center), in

a 2009 group exhibition titled Primal. The exhibition garnered positive reviews locally, and the gallery was impressed enough to offer Pyle what would be his first solo exhibition: Kilroy's Delight, staged later that year. That exhibition, Pyle says, is what ''kicked off everything''. Carl Hammer has since become the artist's main representative, and this month's  Another Slipping Glimpser  exhibition marks Pyle's fourth solo show at the art venue.

    Since 2014・Volume 4

Pyle describes himself as having been ''a visual sponge from a very early age'' with a ''wide, wide range'' of influences. All which he'd absorbed also began manifesting itself from a very early age, visually  and  musically, but formal training ended with the kinds of standard art and music classes which were part of grade school curriculums of the day. The rest of Pyle's education was decidedly hands-on, ballpoints  and  drumsticks, with requisite parental encouragement. The

artist takes certain pride in his self-taught status, and mention of it usually appears

prominently in profiles and publicity. It's a distinction worthy of pride, especially in this

era when the necessity of art university is already under suspicion by some who claim

it hinders true artistry. The unfortunate flip side of being 'self-taught' means Pyle is

regularly lumped in with so-called 'outsider artists', a categorization which is often

directed carelessly and mostly ends up sounding boorish, condescending or just plain

insulting. As most artists could be said to think 'outside the box', the term 'outsider art'

is something of a redundancy; an outdated, 20th century way of segregating artists,

mostly to give the impression that there is only  one  'art world'. ''My work has some of

the look, feel and obsessiveness of some 'outsider art' and that's where some

confusion lies,'' reasons Pyle, politely. Materials, methods and Pyle as moonlighting

musician surely play their part, but they shouldn't. 

Artwork, from-the-top :

Floradora 2009  (One of Pyle's earliest  'portraits'  alongside a selection of his newest.) 

ballpoint pen, pencil & colored pencil on verso of antique LP cover, 12 x 12'' (30.48 x 30.48cm).

Lawrence of Newark  2017

ballpoint pen, pencil, colored pencil & gouache on verso of LP cover, 12 x 12'' (30.48 x 30.48cm).

Kokomo Hum  2017
ballpoint pen, pencil & gouache on verso of LP cover, 13 x 12'' (33.02 x 30.48cm).

All artwork  © C.J. Pyle.

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