From many years of drawing and painting, I have developed a personal
idiom depicting such things as fertility, growth, and death. The imagery
suggests various iconographies and conveys the spirit or idea of transcendence.
The process of creating these works has enabled me to express symbolically
Eros, terror, peace, and other aspects of humanity by using universal
shapes and structures found within the pantheon of the unconscious.
In recent years I have focused on drawing. I use a fine point pen and
mending tissue, which is thin and translucent, but strong. For small
drawings, I use one sheet folded. For larger ones, I stack, and fold
so that there are twelve or sixteen layers of tissue in each drawing.
I draw on the top layer only, allowing the ink to bleed through to the
layers below to produce an osmotic image. Because the paper is so thin,
one is able to look through the top layers into the drawing itself.
Read an essay on Huston's drawings by Harold
Weiss, Associate Professor of Philosophy at Northampton Community College |
| Education |
| 2000 |
Pratt Institute, MFA |
| 1995 |
Pennsylvania Academy of the Fine Arts and The University of Pennsylvania,
BFA Cum Laude |
| Selected Exhibitions |
| 2007 |
This Place of Ours! Puts Recent Academy Acquisitions in Context , Curated
by Robert Cozzolino, Pennsylvania Academy of the Fine Arts, Philadelphia
New Drawings, Feature Inc., NYC
Drawn to the Edge, Adam Baumgold Gallery, NYC |
| 2006 |
Metaphysics and the Virtual, Curated by Robert C. Morgan,
Lab Gallery, NYC
MisCreated, Curated by Tina Zlody, Clark University,
Worcester, MA
Internal
Guidance Systems, Curated by Colin Rhodes and Anne Marie
Grgich, Visionary
Art Touring Exhibition, USA (Catalogue) |
| 2005 |
Contemporary Erotic Drawing, Diverse Works, Houston, TX
and
The Aldrich Contemporary Art Museum, Ridgefield,CT (Catalogue)
Summer Selections 1, Fleisher/Ollman Gallery, Philadelphia,
PA
Drawing For It 2, Spector Gallery, Philadelphia, PA
Operation RAW, Ice Box Project Room, Philadelphia, PA |
| 2004 |
Itsy Bitsy Spider , Feature Inc. Gallery, NYC
Anatomically Correct , Curated by Koan-Jeff Baysa,
473 Broadway Gallery, NYC
Between the Lines, Projects Gallery, Philadelphia, |
| 2003 |
Innocence & Transgression , Curated by John Zorn,
The Proposition, NYC
Fantastic & Visionary Art , Curated by Damian Michaels & Alan
Sisley,
Orange Regional Gallery Touring exhibition, Australia (Catalogue) |
| 2002 |
Arts of the Ethnosphere , Cavin-Morris Gallery, NYC |
| 2000 |
Monk Gallery, Brooklyn, NY
Planet Thailand, Brooklyn, NY |
| 1998 |
Pay Per It, Sideshow Gallery, Brooklyn, NY |
| 1997 |
New Arts Salon, Philadelphia, PA |
| 1996 |
Off the Wall: A Mural Project , Moore College of Art,
Philadelphia, PA |
| 1995 |
Sextasy Ball, Advanced Alternative Media, NYC
The Love Show, Pentimenti Gallery, Philadelphia, PA |
| 1994 |
Pentimenti Gallery, Philadelphia, PA |
| 1993 |
Studio Diaboliques Gallery, Philadelphia, PA |
| 1992 |
Gallery Nadeau, Philadelphia, PA
Art at the Armory, Philadelphia, PA |
| 1990 |
Gallery Axiom, Philadelphia, PA |
| 1989 |
Art Around the Edges, Port of History Museum, Philadelphia,
PA |
| 1988 |
Studio Diaboliques Gallery, Philadelphia, PA |
| 1986 |
Micro Max, Now Gallery, NYC |
| Collections |
The Pennsylvania Academy of the Fine
Arts, Philadelphia, PA
The Collection Art Visionary, Melbourne, Australia |
| Bibliography : Books |
| 2005 |
Koestenbaum, Wayne, Taylor, Sue, Contemporary
Movements and Surveys:
Contemporary Erotic Drawing, The Aldrich Contemporary Art Museum |
| Bibliography : Periodicals |
| 2005 |
Glueck, Grace, Airborne Sex and Wicked
Wallpaper: Sensual Samplings, The New York
Times, July 29
Genocchio, Benjamin, Erotic Goes Mainstream, The New York
Times, May 8 |
| 2000 |
Blackburn, Meg. “A Q+A with Artist
Huston Ripley,” www.freewilliamsburg.com, Oct. 2000
Morgan, Robert C. “Quick Take on Williamsburg,” NY Arts ,
April 2000, p.23 |
| 1997 |
Mangravite, Andrew. “Believe It or Not,” Philadelphia
Forum , Feb. 27, 1997, p.7 |
| 1995 |
Polak, Maralyn. “Puns Batted In,” Philadelphia
Inquirer, Sunday Magazine, June 11, 1995, p.7 |
|