johnotterart@gmail.com



EDUCATION

The School of the Art Institute of Chicago, B.F.A. May 2001

The New York Studio Program, Fall, 2000


EXHIBITIONS

January 2006 Art Papers Silent Auction, Atlanta, Ga.
October 2005 Group Exhibition, Faces of the Fallen, Pitzer College, Claremont, Ca.
June 2005 GreenHouse Art Show, Pasadena, Ca.
January 2005 Art Papers Silent Auction, Atlanta, Ga.
January 2004 Art Papers Silent Auction, Atlanta, Ga.
August 2003 Imagine Nation, Atlanta, Ga.
January 2003 Imagine Nation, New York, NY.
September 2002 Recollection, Atlanta,Ga.
August 2001 Group Exhibition, Golden Pacific Arts; San Diego, Ca.
March 2001 BFA Exhibition, The School of the Art Institute of Chicago
December 2000 New York Studio Program Exhibition; New York
July 2000 Group Exhibition, Organic Gallery; SilverLake, Ca.
August 1997 Recent Works of John Otter, Café Artista; Escondido, Ca.
July 1997 Group Exhibition, Golden Pacific Arts; San Diego, Ca.
August 1996 Local Color, Studio IV, The California Center for the Arts, Escondido; Escondido, Ca.
June 1996 Group Exhibition, Array Gallery; Laguna Beach, Ca.
May 1996 Group Exhibition, Boehm Gallery, Palomar College; San Marcos, Ca.
October 1995 Xerography by John Otter, Café Artista; Escondido, Ca.
August 1994 Movements in Perception, Bohemian Rhapsody; Escondido, Ca.


IN PRINT

Circle Thirteen: Editor (1990-1992 & 2002-2003)
Prosodia: New College of California; San Francisco, Ca. (1999-2002)
The Quest for Freedom Where Freedom is not Provided; Reality Warp Enterprises (1996)


MURALS

Biological Research Field Station for Pasadena City College; Baja California, Mexico
Hosteling International, San Diego Downtown Youth Hostel; San Diego, Ca.


ABOUT THE ARTIST

John Otter was born in San Diego County in 1973, and now resides in Los Angeles County. His practiced media include acrylic painting, woodcut, drypoint, etching, linocut, and multi-media/collage. His works express the artist's views toward mass-mentality and mass-production, as being opposed to the more consummate individuality of the artistic process. Within his print editions the works are exclusively hand-pulled rather than machine-pressed. Integrity and singularity of the works is maintained by limited edition sizes.

Whereas Otter's earlier works emphasize black and white tones and simple, repetitive forms, his more recent works show a tendency toward color - bold and bright in the case of his prints; more subdued and spiritual in his multi-media pieces. Within the various mediums, the artist's work has become moreabstracted, resulting in a more intimate, personal representation.

Otter's work issues a positive message regarding a concern for the direction which art is taking, toward a devaluation through mass production, loweredquality, and inability to relate to the human psyche. The artist's work instead emphasizes natural, organic flow through clear images and natural lines, and through the integrity and purity of the medium. The works merge old with new, recent technology with traditional methods and mediums.




ARTIST STATEMENT : 2003

I’ve always been fascinated by philosophy, metaphysics, and the vague abstract notions that occasionally fill the mind, such as daydreams. I believe painting allows one to explore these non-finite elements of reality. Although it seems impossible to recreate that which is non-manifest, I find that there are certain forms, colors, or ideas, which represent these intangibles quite accurately. My work begins long before I stretch the canvas by sketching, keeping notes, and researching the things that interest me. I often sketch structures such as architecture, biologic systems, and stylized objects. My recent notes and research have been focused on flow-charts, graffiti, binary code and information architecture in general. When I have gathered enough ammunition I begin painting, usually beginning with cloudy atmospheric under-painting followed by layers of geometry and abstract forms.

Most of my paintings include marble dust mixed into the acrylic paint. I find that the marble dust dulls the plastic appearance of the acrylic paint, often giving it a velvety matt finish. The marble dust comes from the natural world, whereas the acrylic paint is a synthetic product. Fusing them becomes symbolic of reconciling poles, making amends with every aspect of life.

Masking tape aids in the construction of the geometric. Tape allows me to paint loosely while creating rigid structures; I believe this looseness is what separates me from a hard-edge style of geometric painting. I’m not interested in creating perfection; I’m interested in the human condition, which struggles between the rational and irrational. Imperfect edges reflect my own inexactitude.

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