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Cut_outs_for_matisse About_to_be_uttered_side Stacked_side The_hills_have_eyes Wood_nelly Sidewinder 3_blind_mice_no2 3_blind_mice_no3 The_first_cut
'rak'rüm (noun);
the back room of an art gallery
where artists and art lovers hang
20100927235747-chrislmercier00332
\'CUT OUTS FOR MATISSE\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'CUT OUTS FOR MATISSE' - "Painting Towards Form",
2007, oil,ink, latex & enamel on canvas, 10"x8"x2"
\'ABOUT TO BE UTTERED\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'ABOUT TO BE UTTERED' - "Painting Towards Form",
2007, oil, ink, latex & enamel on canvas, 14"x12"x4"
\'STACKED\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'STACKED' - "Painting Towards Form",
2007, oil, ink, latex & enamel on canvas, 24"x17"x4"
\'THE HILLS HAVE EYES\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'THE HILLS HAVE EYES' - "Painting Towards Form",
2007, oil, ink, latex & enamel on canvas over wood, 24"x17"x4"
\'WOO NELLY\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'WOO NELLY' - "Painting Towards Form",
2007, oil, ink, latex & enamel on canvas over wood, 15 x 99 x 4 inches
\'SIDEWINDER\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'SIDEWINDER' - "Painting Towards Form",
2007, oil, ink, latex & enamel on canvas, 14"x12"x4"
\'3 BLIND MICE NO. 2\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'3 BLIND MICE NO. 2' - "Painting Towards Form",
2007, oil, ink, latex & enamel on wood, 19.5"x19.5x4"
\'3 BLIND MICE NO. 3\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'3 BLIND MICE NO. 3' - "Painting Towards Form",
2007, oil, ink, latex & enamel on wood, 19.5"x19.5x4"
\'THE FIRST CUT\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'THE FIRST CUT' - "Painting Towards Form",
2007, oil,ink, latex & enamel on canvas, 10"x8"x2"
\'LE CORBUSIER\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'LE CORBUSIER' - "Painting Towards Form",
2007, oil, ink, latex & enamel on canvas, 14"x12"x4"
\'GREEN EGGS & HAM\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'GREEN EGGS & HAM' - "Painting Towards Form",
2007, oil, ink, latex & enamel on canvas, 14"x12"x4"
\'TURMOIL\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'TURMOIL' - "Painting Towards Form",
2007, oil, ink, latex & enamel on canvas, 10"x8"x2"
\'FABLES NO. 4\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'FABLES NO. 4' - "Painting Towards Form",
2007, oil, ink, latex & enamel on paper in wood frame, 27.5"x21.5"x3.5"
\'FABLES NO. 2\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'FABLES NO. 2' - "Painting Towards Form",
2007, oil, ink, latex & enamel on paper in wood frame, 27.5"x21.5"x3.5"
\'FABLES NO. 1\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'FABLES NO. 1' - "Painting Towards Form",
2007, oil, ink, latex & enamel on paper in wood frame, 27.5"x21.5"x3.5"
\'PAINT MODEL 1\' - "Painting Towards form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'PAINT MODEL 1' - "Painting Towards form",
2007, oil, ink, latex & enamel, 5"x12"x4"
\'PAINT MODEL 2\' - "Painting Towards form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'PAINT MODEL 2' - "Painting Towards form",
2007, oil, ink, latex & enamel, 5"x12"x4"
\'SKETCHES\' - "Painting Towards Form", Christopher Lawrence MercierChristopher Lawrence Mercier,
'SKETCHES' - "Painting Towards Form",
2007, Pencil on paper, 12"x8.5"
Paintings in Progress , Christopher Lawrence MercierChristopher Lawrence Mercier,
Paintings in Progress , 2007
Paintings in Progress - Casting Paint, Christopher Lawrence MercierChristopher Lawrence Mercier,
Paintings in Progress - Casting Paint, 2007
Paintings in Progress - Cutting Paint Strips, Christopher Lawrence MercierChristopher Lawrence Mercier,
Paintings in Progress - Cutting Paint Strips,
2007
STACKED, Christopher Lawrence MercierChristopher Lawrence Mercier, STACKED,
2007, oil, latex, ink, enamel on canvas over wood, 24" x 17" x 4"
© Christopher L. Mercier & Lawrence Asher Gallery
Indigenous, Christopher Lawrence MercierChristopher Lawrence Mercier, Indigenous,
2008, oil, latex, ink & enamel on wood panel, 54" x 48" x 1.5"
© Christopher L. Mercier & Lawrence Asher Gallery
Willy Wonka, Christopher Lawrence MercierChristopher Lawrence Mercier, Willy Wonka,
2008, oil, ink, latex, enamel on wood panel, 54x48x1.5
Studio View - work in progress, Christopher Lawrence MercierChristopher Lawrence Mercier,
Studio View - work in progress, 2008
Intersection , Christopher Lawrence MercierChristopher Lawrence Mercier, Intersection ,
2008, oil, ink, latex, enamel on wood panel, 54x48x1.5
Fortification , Christopher Lawrence MercierChristopher Lawrence Mercier, Fortification ,
2009 , oil, ink, latex & enamel on canvas over gator board, 20 x 27 x 7 inches
Postulates and Theorems, Christopher Lawrence MercierChristopher Lawrence Mercier,
Postulates and Theorems,
2009, oil, ink, latex & enamel on canvas over gator board, 24 x 20 x 9 inches
Criss-crossed horizon, Christopher Lawrence MercierChristopher Lawrence Mercier,
Criss-crossed horizon, 2009
Compressed Cosmology, Christopher Lawrence MercierChristopher Lawrence Mercier,
Compressed Cosmology, 2009
Postulates and Theorems_side view, Christopher Lawrence MercierChristopher Lawrence Mercier,
Postulates and Theorems_side view, 2009
Postulates and Theorems_detail, Christopher Lawrence MercierChristopher Lawrence Mercier,
Postulates and Theorems_detail, 2009
\'Cyclops\', Christopher Lawrence MercierChristopher Lawrence Mercier, 'Cyclops',
2010
\'Surveyor\', Christopher Lawrence MercierChristopher Lawrence Mercier, 'Surveyor',
2009
\'Fortification\' - side view, Christopher Lawrence MercierChristopher Lawrence Mercier,
'Fortification' - side view, 2009
A Compressed Cosmology, Christopher Lawrence MercierChristopher Lawrence Mercier,
A Compressed Cosmology,
2010, oil, ink, latex & enamel on wood panel, 48 x 48 x 4.5 inches
A Compressed Cosmology - side view, Christopher Lawrence MercierChristopher Lawrence Mercier,
A Compressed Cosmology - side view,
2010, oil, ink, latex & enamel on wood panel, 48x48x5
Sacred Geometry , Christopher Lawrence MercierChristopher Lawrence Mercier, Sacred Geometry ,
2009, oil, ink, latex & enamel on wood panel, 24 x 26 x 6.5 inches
Sacred Geometry , Christopher Lawrence MercierChristopher Lawrence Mercier, Sacred Geometry ,
2009, oil, ink, latex & enamel on wood canvas, 24x26x6.5
Desert Flora & Fauna, Christopher Lawrence MercierChristopher Lawrence Mercier,
Desert Flora & Fauna,
2009, oil, ink, latex & enamel on wood canvas, 18x12x5
Desert Flora & Fauna - side view, Christopher Lawrence MercierChristopher Lawrence Mercier,
Desert Flora & Fauna - side view,
2009, oil, ink, latex & enamel on wood canvas, 18 x 12 x 5 inches
Cyclops, Christopher Lawrence MercierChristopher Lawrence Mercier, Cyclops,
2010, oil, ink, latex & enamel on wood canvas, 9x9.5x6.5
Sacred Geometry - detail view, Christopher Lawrence MercierChristopher Lawrence Mercier,
Sacred Geometry - detail view,
2009, oil, ink, latex & enamel on canvas, 24x26x6.5
Salvadors Time , Christopher Lawrence MercierChristopher Lawrence Mercier, Salvadors Time ,
2010, oil, ink, latex & enamel on wood panel, 48 x 48 x 6 inches
Salvadors Time - side view, Christopher Lawrence MercierChristopher Lawrence Mercier,
Salvadors Time - side view,
2010, oil, ink, latex & enamel on wood panel, 48x48x5
Gallery Photo 1, Christopher Lawrence MercierChristopher Lawrence Mercier, Gallery Photo 1,
2010
Gallery Photo 2, Christopher Lawrence MercierChristopher Lawrence Mercier, Gallery Photo 2,
2010
Gallery Photo 3, Christopher Lawrence MercierChristopher Lawrence Mercier, Gallery Photo 3,
2010
Gallery Photo 4, Christopher Lawrence MercierChristopher Lawrence Mercier, Gallery Photo 4,
2010
Christopher Lawrence Mercier
Christopher Lawrence Mercier
"MILK BONE ACCELRATOR" , Christopher Lawrence MercierChristopher Lawrence Mercier,
"MILK BONE ACCELRATOR" , 2009
"MILK BONE ACCELERATOR", Christopher Lawrence MercierChristopher Lawrence Mercier,
"MILK BONE ACCELERATOR", 2010
"ACCUMULATION" - angled view, Christopher Lawrence MercierChristopher Lawrence Mercier,
"ACCUMULATION" - angled view,
2010, oil, ink, latex & enamel on canvas over gator board
Sacred Geometry , Christopher Lawrence MercierChristopher Lawrence Mercier, Sacred Geometry ,
2009
Compressed Cosmology, Christopher Lawrence MercierChristopher Lawrence Mercier, Compressed Cosmology

Trajectory, Christopher Lawrence MercierChristopher Lawrence Mercier, Trajectory,
2012, latex, enamel, ink & oil on wood panels with mirror
© Christopher Mercier
Trajectiory, Christopher Lawrence MercierChristopher Lawrence Mercier, Trajectiory,
2012, oil, ink, enamel, & latex on art panel construction
© Christopher L. Mercier
Geography 103, Christopher Lawrence MercierChristopher Lawrence Mercier, Geography 103,
2012, oil, ink, enamel, & latex on art panel construction, 9x12x9
© Christopher L. Mercier
Old Man by The Sea, Christopher Lawrence MercierChristopher Lawrence Mercier, Old Man by The Sea,
2012, oil, ink, enamel, & latex on art panel construction
© Christopher L. Mercier
Trajectory, Christopher Lawrence MercierChristopher Lawrence Mercier, Trajectory,
2012
© Christopher Mercier
Wiggle Room, Christopher Lawrence MercierChristopher Lawrence Mercier, Wiggle Room,
2011, latex, enamel, ink & oil on wood panel, 8x12x2
© Christopher Mercier
New Amercian Paintings - Christopher L. Mercier http://www.newamericanpaintings.com/artists/christopher-l-mercier October 2012 SPECULATIONS ON THE E-X-P-A-N-D-E-D SPACE OF PAINTING: Selected works from 2004 to 2012’ Greenleaf Gallery Whittier College Solo Show “Painting before Caravaggio could move backward, it could step sideways, it could climb walls, but it could not march forwar...[more]


RackRoom
Interview with Christopher Mercier

Los Angeles, Nov. 2009 -   In a beautiful artist compound located in Inglewood, CA,  Chris Mercier moves between his art studio and his architecture studio, (fer) studio, spending time in project development, working with his associates and clients, meeting with curators and visitors, and throwing the ball for several resident dogs.  As a Juried Winner in the ArtSlant March Showcase, Chris came to the attention of our editorial staff last summer. Staff writer and intern, Joan Honoridez-Mocorro, had an email exchange with Chris about his practice and influences; the following was culled from that conversation.  Chris is represented by Lawrence Asher Gallery in Los Angeles. 

Chris Mercier in his studio, 2008; Courtesy of the artist


Joan Honoridez-Mocorro:  What is it like being a painter, sculptor, and architect?

Christopher Lawrence Mercier:  That’s a good question, not sure if I know how to answer it though.  For me, it’s just natural, it’s the way I always thought things were when I was a kid. My mother very early on introduced me to artists from the Renaissance – da Vinci, Brunelleschi, Michelangelo, Raphael, Titian - which I took a liking to, and they almost all approached work that way.  So working across fields just seemed appropriate to me.  When I was finishing high school and in that awkward situation of trying to determine what to do with my life, I thought I was going to be an artist (painter/sculptor). Then I started questioning that idea in terms of financial opportunities, and asked myself  “how realistic is it?” It occurred to me that if I became an artist, I would never be able to be an architect.  But, if I pursued architecture, I could still also be a painter and a sculptor. That avenue simply gave me the most flexibility and that’s how it happened. Since then, it has been an interesting ride trying to develop a more contemporary method of working & living that combines all those disciplines. So in response to your question, I guess the best I can say is that I am trying to find out.

Christopher Lawrence Mercier, THE FIRST CUT' - "Painting Towards Form", 2007, 10"x 8"x 2", oil, ink, latex & enamel on canvas; Courtesy of the artist


JHM:  As an architect you worked with Frank Gehry, among others.  Can you tell us a bit about those experiences?

CLM:  Over the years, I have had many great opportunities to work with some very special individuals. I take much pride in those past experiences as they have become the building blocks for structuring my own development as both an artist and an architect. Working with Frank and the Gehry Partners office was an amazing experience! I was there for nine years so it was a real life influencing time. I started in the office as a ‘model builder.’ From there I grew quickly, taking on various different roles and positions, and always paying close attention to how the whole process worked and evolved. Working in a large office like that with extremely talented colleagues and very high profile clients means you either quickly learn appropriate political skills, on top of being creative, inventive and very efficient with your immediate work, or you get pushed to the side. It’s a very competitive place, although from the outside it doesn’t seem that way. I suggest anyone who has the opportunity to work in a place like that do so; it’s eye-opening for both good and bad reasons. I came out of that office in a very positive way and felt my experiences there, although many times extremely challenging, were an incredible learning and growing opportunity. I feel Frank has created an interesting model in terms of the office's development over the years, one that can’t be ignored wether you like the work or not.  I thank him for the opportunities I shared there.

JHM:  Did his unconventional approach to architecture influence your art making?

Collected images on the walls in Mercier's studio; Courtesy of the artist


CLM:  The biggest thing that influenced me was Frank’s way of working and the level of rigor within his method. I have worked for a few famous and semi-famous architects over the years. In these opportunities, I have been able to obseve incredible design efforts as well as focus on the way in which architecture (or any other project) gets processed.  What do I mean by processed?  How does one go from designing and developing an unconventional form/object/idea and get it built/shown/displayed in the real world for others to experience? For individual artists working in their studios at standard painting scale, I don’t think this is of any real surprise. But I’ve had the opportunity to be exposed to and participate in the politics of designing, developing, and constructing enormous projects which include the interaction and ideas of 100’s of different people, organizations and committees all coming together to create a single outcome - that has been a very interesting experience.

JHM:  Aside from Frank Gehry, who and what has inspired you?

CLM:  A number of years prior to working with Frank I spent a year in Italy at a small architectural apprenticeship program called ‘Architecture Intermundium’ hosted by Daniel Libsekind. This was also a life changing experience for me in many ways. It was set up as a small school type situation were a small group of us, 6 or 7 I believe, worked with Daniel on a multitude of different projects, some small scale works, some to the scale of city master planning. Anyway, it was a really great opportunity where I learned about being committed to an idea/model in a wholly new way. In the past I was always exposed to a school of thought that seemed to suggest:  If  you were working on something and it wasn’t succeeding, then you tossed it aside and started fresh. In Italy, I experienced a method of working where, from day one, you got fully committed and worked pieces/models in a continuous evolution.  If  the idea started to change, you never threw it out. It was very exciting for me as it taught me the notion of  letting a concept evolve out of a working process as opposed to creating a concept to work from.

Mercier testing paint product that he makes for his work; Courtesy of the artist


JHM:  In your work, you seem to build paint objects through a layering process.  How did you arrive at this working method?

CLM: It has been a long process of development that still continues today.  It progressed through investigations and explorations originating with my interest in abstract expressionistic painting, the history of abstraction, contemporary abstraction and the relationship of painting, sculpture and architecture.

JHM:  Oil and water don't mix, and yet your work uses oil, ink, latex, and enamel media? 

CLM:  The various types of materials I use in my work I would suppose are less than ideal from an art conservationist’s point of view. How did I come upon the various combinations?  It began with the development of my painting/paint modeling process mentioned above. I was always struggling to try and achieve an outcome with paint that required it to be more than paint, something that you could not only render with but also form/build with. The water base ink I use allows me to do that. I never actually mix the water base ink with the other oil based paints, at least not in a wet state. Instead I have found that the water base ink, if poured into molds can be cast. It’s in its dry cast state when I apply it to the work, and then it may end up mixing with an adjacent oil based medium.

JHM:  What’s important to you in your work?

CLM:  My work is a continual exploration. I want to keep it new and fresh (as  much as I can.) It has taken many years to get here, and the more I understand about my process, the more it comes back to the idea that it may not be so much about where I am going as it is about the focus and commitment I bring to my work at hand, essentially my level of professionalism and persistence. I think that has a lot to do with a lot of things. 


ArtSlant would like to thank Chris Mercier for his assistance in making this interview possible.

-Joan Honoridez-Mocorro

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