Jul 172016

travel santa fe

“Galleries are scrambling toward nationally relevant contemporary art,” says Willy Bo Richardson, a Santa Fe-born painter whose internationally acclaimed canvases of fluid vertical strokes hang at Canyon Road’s Turner Carroll Gallery. “The quaint notion of going to Santa Fe to buy howling coyote art is thankfully disappearing.”

Luxury and Lifestyle Magazine VIRTUOSO LIFE July/August 2016 – Santa Fe Travel

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Oct 072015

Artsy Three Distinct Artists United by Bold, Enthusiastic Styles

Turner Carroll Gallery welcomes into their space this month three new artists, with styles ranging from minimalist to maximalist and abstract to representational. Willy Bo Richardson, Fausto Fernandez, and Jamie Brunson share a certain spirited sensibility, but their methods of representation vary so dramatically that any one-line comparison between their practices wouldn’t suffice.

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Aug 212015

adobe airstream

Original Article: Painters Point the Way at Richard Levy Gallery
By Margaret Wright  August-September 2014 Edition

richard levy gallery

“That’s Where You Need to Be,” Richard Levy Gallery

Painting, inextricable from human and social evolution, continues as a ready target for provocateurs lobbing the contention that the medium’s expressive force of action has finally achieved irrelevance to hands-free digital imaging. The conversation generated within “That’s Where You Need to Be,” a curated exhibition at Albuquerque’s Richard Levy Gallery, refutes such critical claims and even co-opts them with a demonstration of how the act of painting remains married to elemental expressive instincts.

Highlighting recent work by William Betts, Xuan Chen, Maria Park and Willy Bo Richardson, the show surveys how each artist employs abstract means to delve into the effects of color, space, and the current course of our evolution (or devolution). The artists’ references and methods are diverse but find frequent overlap. Richardson stretches vertical bands of color so intense across each canvas that they seem to crackle like neon. He has described his act of painting as a sort of meditation, a give-and-take with gravity and the universal laws that determine our experience of the physical world.

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Oct 112014

willy bo richardson, gallery intell, phillips de pury

Phillips de Pury, New York

October 4, 2012
by Kristina Nazarevskaia

Willy and I met many years ago when a budding young painter, I ventured deep out into Brooklyn to buy stretcher bars from his studio. It was a random ad on Craiglist that brought me to a ground floor garage space on Myrtle Ave and into the very first real artist studio.

phillips de pury, watercolors, that's where you need to be

“That’s Where You Need to Be 2”, 2012
watercolor and gouache on paper, 26 x42 in

I remember feeling instantly awed by the perfect fluidity of color streaming down the canvas in soft vertical bands. Orange flowed next to the most brilliant turquoise, next to a deep alizarin crimson, next to a Naples yellow and all these colors seemed to be destined to exist in this very harmony, in this very space. There is a saying in Russian “Все гениальное – просто”, which roughly translates to all the ingenious things are in reality quite simple and this is how Willy’s work felt to me. It was perfectly simple, yet impossible  for anyone but him to have conceived and expressed. Over the years we have kept in touch and finally met up again in New York in anticipation of the exhibition at Phillips de Pury “Watercolors” in Chelsea where several of Willy’s new works are installed in their very own room. I’ve asked Willy to talk about about his process and the paintings in this exhibition as I believe that in abstract art, understanding the artist’s physical process, his thought process and inspiration is an integral part of understanding the painting itself. What is it about the outside world or the inside space that brings out this line or this stain, or this field of color? How do thoughts and intentions come to life?

Here is how Willy described his process:

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Jun 282014

Design Arts Daily

Abstraction: Informers and The Informed

By Peggy Roalf   Thursday April 21, 2011

The first known abstract painting was made in 1911 by Wassily Kandinsky, and so this 100th anniversary year offers opportunities to explore a fascinating world of art from many points of view. Undoubtedly nudged by the multi-dimensional exploration of Abstract Expressionism currently on view at MoMA, numerous exhibitions continue to unfold in New York, including 70 Years of Abstract Painting—Excerpts at Jason McCoy Gallery.

The show starts off with a retina-blasting canvas from 1969 by Gene Davis (1920-1985) that capitalizes on ideas from Op Art practices of the day –  filtered through an evidently fun-loving eye (below, left). At roughly 5.5 x 5.5 feet, the painting riffs on Josef Albers’ (1888-1976) Interaction of Color series, but done in a spectrum of vibrating stripes, rather than squares.

70 Years of Abstract Painting – Excerpts

Installation views of 70 Years of Abstract Painting—Excerpts at Jason McCoy Gallery, courtesy of the gallery

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May 112014

The End of Being: Painting, Doritos and Color Theory – The Work of Willy Bo Richardson


April 2011, by Katy Crocker

Sixteen years ago Santa Fe artist Willy Bo Richardson drove down highway 71 in Austin.  As a painter consumed with his practice, he considered color. The blacktop road burst with light intermittently, revealing the yellow stripes on the street in the night.  Time passed and Willy realized he was going the wrong way in relation to his destination.  In the midst of this experience, he stopped at a gas station to reorient.  As if by magnetism, he was pulled towards a bag of Doritos.  The red and blue bag of Doritos served as a source of discovery, with a yellow chip inside.

This experience led him to the concept that red and blue make yellow.  Forget logic, this was a philosophical exercise.   Time passed, and yet another “ah-ha moment” showed the artist, via the visible light spectrum, that in fact yellow lies between red and blue, which became a theoretical platform for the artist and reconciled the “Doritos-moment.” Continue reading »