Sometimes the research on a painting can take as long as the actual execution of the painting. That in itself is a very rewarding learning experience for me. I try to keep the imagery as close to the Egyptian style and mythology as possible, so that it is like looking at our modern world through their ancient eyes. Using familiar situations and issues allows the basic stories and humorous touches to be understood by almost everyone.
Frequently Asked Questions:
How old am I, where was I born? Born in 1957, I am an American, born in the Garden State of New Jersey, Exit 14a.
How and when did I become
interested in Egypt? As
long as I can remember I have been interested in
Ancient Egypt. But, I do not know why. I can point
to my first coherent memory of something Egyptian.
It even has a date attached to it now thanks to the
www. It first aired on TV October 2, 1964, It was a
of Anubis. What an
adventure! I was 6 years old and the cobras,
scorpians, and walking mummys nearly scared me to
death. I was hooked.
When did I begin to
paint? My first memory as a
painter was as a very, very, young child. We had an
oak tree in our yard that supplied me with acorns. I
began to paint them, I thought the acorns were
absolutely beautiful painted different colors. I
created quite a production line to paint acorns
which I planed on selling to the entire
neighborhood. This was my first experience with the
idea of "beauty being in the eye of the beholder".
It also laid the foundation of an otherwise
unremarkable sales career, I didn't sell any acorns,
not one. Time marched on, as a teen I relieved
boredom by copying album covers. My favorites were Grateful
Dead covers. One in
has a subtle
Egyptian influence. Note the winged solar disk across the top and the scarab on the bottom middle. I am also reminded
of a Grateful Dead bumper sticker that I saw every
day on my brothers car... "In the land of the night
the ship of the sun is drawn by the grateful dead."
This is reminiscent of the Book of Gates, an ancient
text that explains the route that Ra's boat takes through the underworld.
Because there is no wind in the underworld his ship
is pulled by the grateful
Did I study Art? I did, but I'm sorry to say I was not a good student and only made it through 5 semesters of college. My formal training is limited to two years at a Carroll County Tech Center where I studied Drafting where I finished top in my class. After a year or so in the working world of Civil Engineering I went back to school at the Maryland Institute College of Art, in Baltimore, MD. My first year of college I was once again introduced to ancient Egypt. I bought my first copy of the Book of the Dead for a poetry class. I was fascinated by the hieroglyphic language and the fact that this ancient picture writing was now a modern type face. My first Egyptian drawing of this period was for an art history class. It was a copy of a small artifact from The Walters Art Museum. In my second year of college I majored in sculpture. I was thrilled to find myself pouring hot metal in M I CA's sculpture departments foundry. The result of a lost wax casting assignment is called Tut's Tour, still one of my favorites. It was not until after I dropped out of college that I became completely immersed in the Ancient Egyptian style of painting.
Creative Arts Guild, Eight pieces on display in a show entitled NO MUMMIES The Influence of Ancient Egypt on Contemporary Art and Culture. Dalton, GA October 10 - December 15, 2000 REVIEW
Dundalk Gallery, College Community Center, Two pieces on display in a show entitled Crossings: the Arts Reflecting Egypt. Dundalk, MD October 24 - November 29, 2000
Hall Arts Center, The Graceland Papyrus receives Juror's Equal Award in Scaled to Art, a show featuring music as inspiration.
Bethesda, MD. June 26 - August 31, 1996.
Bandaloops, eighteen pieces on display, Baltimore, MD. August - October 1995.
Fell's Point Corner Theatre, eight pieces on display, Baltimore, MD. November- December 1993
Katzenstein Gallery, Two-person show, Baltimore, MD. June 5 - 27, 1992.
Greenbaum Gallery, participated in group exhibit, Fell's Point, MD. April 5 - May 15, 1992.
Dundalk Community College, invited to participate in Drawing Outside the Lines, Dundalk, MD. March 6 - 30, 1992.
Howard Community College, Columbia, MD. February 13 - March 28, 1992. REVIEW
Art League, two
paintings accepted to Juried Show, Johns Hopkins Medical
Institution, Baltimore, MD. November - December 1991.
Strathmore Hall Arts Center, five paintings accepted to Summer Sights, Bethesda, MD. June 13 - July 20, 1991.
Fell's Point Corner Theatre, seven pieces on display, Baltimore, MD. March 1991.
Syrumie Cafe, seven pieces on display, Baltimore, MD. February - March 1991.
Kupchick's, fifteen pieces on display, Lewes, DE. October 1990 - January 1991.
Hall Arts Center, Rush Hour received first place Juror's Award in Artery '90, Bethesda, MD. October 18 - November
17, 1990. REVIEW
Loyola College, 25th, 26th, 27th, and 31st Annual Outdoor Invitational Art Shows, Baltimore, MD. Autumn `90, `91, `92, and `96
Bandaloops, ten paintings on display, Baltimore, MD. August - October 1990.
Artscape, Bored Room
to Annual Juried Show. Baltimore, MD. July - August
Space Telescope Science Institute, one man exhibition Times and Spaces, Baltimore, MD. September 1 - October 31, 1989.
Essex Community College, Essex, MD. June 5 - July 2, 1989.
Jersey Center For Visual Arts, First Brunch accepted to Juried Show '89, Summit, NJ. January 22-February 23,
Park School Admissions Gallery, Brooklandville, MD. November 1 - 30, 1988.
Montpelier Cultural Arts Center, winner of the Library Gallery Competition and Honorarium, Laurel, MD. May 1 - May 31, 1988.
Baltimore County Courts Building, Towson, MD. June 1 - 30, 1987.
Capital Parks and Planning Commission, received Honorable Mention, Artist
Today Touring exhibit, Humor,
Wit, and Wimsy.
Washington, D.C. and surrounding areas. November 1986 -
Foodscape, annual group exhibit, Mount Royal Tavern, Baltimore, MD. July 1984 -1996.
Institute of Egyptian Art and Archaeology, invited to participate in a show entitled Egyptomania: From Memphis to Memphis, Memphis State University, TN. Funding cut, Canceled.
BY ANN NICHOLS
KEN ODA's ART NEWSLETTER
Volume IV, Number 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . April 1996
A MONTHLY NEWSLETTER FOR ART COLLECTORS AND ART PROFESSIONALS
IN THE WASHINGTON, D.C., METROPOLITAN AREA.
Richard Deurer, Sam Faltaous, Joyce Zipperer:
Past to Present, at Strathmore Hall Arts Center,
10701 Rockville Pike, North Bethesda, MD, through April 20.
Sam Faltaous is a highly skilled imitator. Using authentic Papyrus he paints in the traditional ancient format of rows of figures and objects in stylized profile. He provides no new insights, interpretations or contemporary relevance.
From a distance Richard Deurer's work seems to be done in the same mode, but wait -- his traditionally presented figures have vaulted into the 20th century. Boardroom meetings, bar-hopping, skiing, Graceland and other contemporary afflictions are the subjects for his delightful ancient imagery. These are more than mere visual puns; they gently reveal the humor in our foibles and behavior.
Joyce Zipperer's elegant architectural forms simultaneously imply ancient wisdom and contemporary concerns. There is layer upon layer of high tech materials which manage to suggest the detritus of the ages. She uses various forms of the Paintbrush as memorialized icons presaging the danger to (death of?) creativity in our art-hostile materialistic age. [RS]
Treasures of a different sort
Deurer's clever take on Egypt
Strathmore 'Artery '90' exhibit has humorous touch
The Forum Gallery
Dan R. Talley, Curator
Richard Deurer produces narrative paintings that play out the mundane aspects of contemporary light using ancient Egyptian characters and trappings. The jarring and highly arresting pieces cause us to reflect on the differences (and similarities) in the human condition since time immemorial.