Two thoughts and some ramblings on Color Abstractions

by David Hopkins

My wife is an artist. We have a studio behind our house where she works. She has a large easel, a smaller easel, and a drafting table. Tubes of oil paint are carefully rolled, clipped, and hanging from the peg board. Figure drawings are stacked underneath the work bench. She has reference sketches taped to every wall. I know one thing, for certain: Artists need their space.

But what's it like to be married to an artist?

I get an abundance of art-related memes and TikToks sent to me. We discuss our favorite painters over breakfast (Cesar Santos, Patricia Watwood, Kehinde Wiley, and Mario Robinson come up the most in conversation) — and the two we loath. (Paul Gauguin is a monster. Pierre-Auguste Renoir is a hack.) On the weekends, we go to art museums and gallery shows. I’ve lost count, but we’ve been to a lot.

So, with my non-expert opinion and my casual experience as a regular art gallery-goer, what are my thoughts on the Color Abstractions exhibit at the Create Arlington Gallery? I have two thoughts.

1. The works range in quality, and that’s not a bad thing.

Some artists are still developing their craft, finding their voice, honing their skills. I enjoy seeing artists at that stage. They are filled with passion and energy—but they're not always on where to go and how to get there. These artists may surprise you, and that’s always a fun experience for someone attending the show, when the notable up-and-comer becomes a respectable powerhouse painter. You get to say, “I saw their work before they become cool” or “I always knew they’d make it big” (even if you had no clue). You get to be the art hipster. Congratulations. The other joy is that their work is more affordable. Very few people can afford a painting by Kehinde Wiley—but you might find his heir at Create Arlington.

Other artists at the exhibit have matured in their craft, and you’re seeing them at the full height of their powers. That’s exciting too. It’s fun to stand in front of art and realize just how damn good it is. You nudge your wife and point to it. She nods approvingly, and you both wonder if anyone else realizes it. I saw several absolutely incredible pieces at Color Abstractions. The work of resident artist Dárē stood out to me, in particular.

Ultimately, at a small gallery, no matter where the artist is in their journey, you should buy the art that you enjoy—priced right at the edge of what you’re comfortable spending. (Good art is never cheap.) And that’s it. There is no other standard. Whether the artist started last week or twenty years ago, buy the art that you most enjoy. Hang it in your home with pride.

With the Color Abstractions exhibit, there's a wide selection of art to choose from. This is a good thing, especially for people who have just started collecting. And you should. Everyone should buy original art.

2. As a gallery, Create Arlington can hold its own against almost any gallery in Dallas.

Bold words, but it’s true. Mark and Christian Joeckel have worked hard to establish a truly legitimate gallery space in Downtown Arlington within a relatively short time. The space is clean, well-conceived, and nicely lit. The natural light from the front windows has been generous to the space. The gallery did a great job with hanging and displaying the art (more challenging than you might think), and they’ve worked hard to put the artists at the forefront of their concerns. Like the fledgling artist, there is passion and energy at Create Arlington.

That energy is being rewarded.

Let’s look at some of the numbers:

• 250 people attended the opening reception

• $4,000 sold (so far)

• 64 artists

• 99 pieces and 4 abstract mineral specimens

As the Arlington Museum of Art, just down the street, has grown in recent years to feature higher quality exhibits from prominent and historically significant artists—Create Arlington is filling another necessary void. The gallery that celebrates new and local talent; the gallery that somehow finds the space for over 100 pieces of art in a single room, and provides everyone an opportunity to engage with it; the gallery that relentlessly champions and believes in the cultural potential of Arlington—what’s it like to have such a gallery nearby?

It feels damn good. After all, artists need their space.