One to Watch: J. Rodney Dennis, a Contemporary Painter Making Waves in Classical Realism

I have with me artist, Rodney, Dennis. Thanks so much for coming in today. Thank you. You made a kind of a commitment to come be part of our show. I feel very honored. Oh, I Appreciate that. Um, it was an honor is ours. You had me here to be here for you all to consider as far as representing us. And, uh, so, um, that and part of the contract. Yeah. So I had to come here. I Mean, you traveled from Washington DC, correct? Yeah. And how did you find your journey? Um, It was, yeah, it was a flight, I guess he used to fly in some much at, uh, that, uh, yeah, we jumped on a flight and we worked it out in our schedule and, uh, we were able to get here. So, uh, you know, we didn't want to miss the opportunity. Yeah. You haven't been with the art gallery for very long? No, I guess not. And we just we've signed on, um, within the past several weeks. Yeah. Officially in the past several weeks and, uh, and uh, excited about the opportunities and that you'll present. And, um, as well as the, um, the opportunities for exposure specifically for actual artists. So we were impressed. So we thought we'd given a good look. One of the reasons that I think we became interested in you is that, uh, your classmate, Missy Dunaway is also one of our artists. And she said, you really need to take a good look at this artist. He's very talented. I paid Missy a lot of money. Yeah. Well, that's good, Missy, I won't ask you about that the next time I see you, but whatever it took, we're glad To have you here. Yeah. Well, so you both, you attend school together and, uh, here in new England and it's, again, it's a school that you have to make a commitment to attend. Absolutely, absolutely. We, um, we met there and, um, and yes, it is a very rigorous course. Anything regarding academic studies and, or the utility methodologies that, um, the, uh, or early artists actually follow, um, very, very rigorous. Very, you have to be committed to it. Tell Me about, um, the tele AI approach. Oh, chase. It's, uh, such it's an academic approach and then involves, um, gosh, I wish I had my cheat sheet in front of me. Um, but basically it involves a lot of the actual studies and understanding of, uh, approaching the, the form and doing it in a representational manner. So, um, the curriculum is, um, pretty standard. I wouldn't say standard, but just covers different aspects of that in order to get to a certain level. But from what I understand, it's, uh, the standards are actually quite high. They have a lot of expectations of You. Yeah. Yeah. I don't know. It's yeah. I would say the standards are high as far as for academic because they did the processes. Um, and it weeds out a lot of people. So, um, I think commitment is a good word to use. The type of work that you do is considered realist painting representational representation. Yeah. So you have two different aspects of abstract and representational. So within that, that's when you branch off, um, case in point, like you can have something to be known as someone who's a physician, it could be a cardiologist or somebody, a foot doctor and things of that nature. So there are different areas. So I'm hyper realism, straight realism representationalism or, or, uh, or surrealism. So, Well, one of the things I really enjoy about these conversations is I get to learn a lot because obviously my, my field is medicine. So I've gone deeply into that field, but I, I'm kind of going to pick your brain a little bit. Have you, have you expand upon this for those of us who haven't had the opportunity to do all the training that you do? I tell you what, I don't know how much picking you be able to get, but I'll give you what I got. I know. All right. So if you are doing representational art, what does that mean to the person walking around a museum, seeing a piece that you have created? You know, um, I I'd have to say this, this, that, I mean, your question is what was, what does it mean to someone walking around? Um, because a lot of this comes down to perception and really what it is that we've already been, I guess, pre-programmed or understand what art is and not really being versed in representation, realism, or abstract ism. Um, if anything, we're more so versed in expressionism. What's the difference between abstract ism, expressionism, um, Realism. Jeez, I did not bring the curriculum with me for my actual graduate studies. a piece of art Look like if it was one of those things. And again, that goes down to the perception of the individual, because somebody may look at this, this particular base and say, oh, that looks like a photograph, but they may not even understand anything about representation. It's not something that's generally taught. Well, tell me about this piece. How, what's the name of this piece and how would you describe it? I wasn't, well, she was missing, well, she was missing this piece is, um, it's basically a devotional piece. This is an individual who is captured in a time where you're really, really seen someone, someone who's actually insane. I want to say solace, but someone who's actually, um, how they start out their day are really what makes them, who they are. Um, one of the elements that she's holding is, um, there's a book entitled the purpose-driven life and, um, she's on a faith journey. So there's a, that's one aspect of it. That's pretty much the, uh, what are the, I don't wanna say the competing aspects. That's one of the main aspects of the other aspect is a woman of color. If you don't necessarily see in this kind of way. So I'm highlighting, exposing, presenting a different view. How are women of color are usually represented in art? I think the first thing that comes to, I know, well, how are they represented art? There really aren't that many represented in representational art, to be honest with you out the ages, you don't really see a person of color. So, um, let's just take the art part off of and just say, well, how are women of color being viewed period? So I guess it's like today, they're really not in a very much, very positive air of fashion. It sounds like the narrative, when it comes to art is very important too. Oh, well, yeah. Narrative is important. It is. Um, I would dare to say this, but you know, narrative can mean a lot of things. What does it mean to you? Heritage, just narrative. Yeah. Narrative is, is basically what is it that you're trying to say or really, what is this, you know, what is the story? Yeah. To me. So I believe that yeah, you should have a story with it. That's what I believe. So in this, in this case, the faith journey is the, it sounds like is the story she's On a faith journey, but that's not the narrative of the series. Yeah. Expand upon that. I expand upon which part of it, um, um, well on the, what's the narrative of the series then. Oh, okay. Yeah, Yeah. Um, an actual area, we just basically how women of color, how they are, how the, the innocence to expose the innocence part, not something that has been pretty much pervasive in today's media. So this is what's really capturing that, or really that was the effort to capture that she was adorned in white. She is not quote unquote opulent or anything that anything that's, um, anything is focused just on the esoterics. We just, um, and doing a wine very, but yet very gentle, very, very innocent. And so that you just walked into, into an area that she, uh, you weren't invited input. She just happened to notice that you were there. That's pretty much the undergrounding of a lot of the same, this particular series. Yeah. Do you think that this is limited to women of color? Do you think men of color are represented in art? Neither? Yeah. Yeah. Not in representationalism abstract Islam. Yeah. But not in representationalism. Yeah. I think it goes back to Sr as well. What's the difference between average absurd doesn't mean representation of, but as far as actually the representation of people of color in the, um, in the arts of actually what you actually are revealing, no, You've been doing art for a very long time. You started, when you were quite young, did you have people in your life who suggested that you do art or supported you in your, in your art? Gosh, I tell you, I'll tell you what that's did. I have people who I'm trying to understand your question more so well, Let's just say in your family, did your family see that you were interested in art and try to find ways so that you could engage in it from an early age? Not At all. It's not something that's very, uh, um, in my particular family, it's not something that, um, uh, they were more concerned about how it was, how it was going to make a living. Yeah. So, um, they did see something very special. So, um, but no, no, they didn't really understand it. So if you're in a family that doesn't really understand your art, but it's something that you feel strongly about. How did you find it within yourself to keep moving forward At the age of five? I didn't even understand the question you asked me If you just knew you liked it and you knew you were going to do it. And I don't know. No, really. I mean, I mean, at that age, I just don't believe, think that it said formulaic, to be honest with you. I just think that it's just, Hey, it's something that, um, that I like that I did. I really wasn't thinking about it as far as whether or not I liked it or, or whether or not, um, I got support for it or whatnot. It was just something I did. So, yeah. So around the age of five, did you continue to seek art instruction while you were going up through school? Did I seek it? Yeah. At the age of five. Oh, I guess. I mean, you know, I've to some artists whose, who went to high schools, where there was a strong art program and they had mentorship and they had instruction at their high schools. And so I guess I'm not talking age of five now I'm talking kind of fast forward a little bit. Yeah. Um, you know what I, I guess, um, I think for, in the realm, as far as, you know, in Washington, DC, as far as community, um, as far as being a person of color and that would, you know, in my mind would say opportunity, I don't think we had those kinds of opportunities growing up. And I say, wave as far as my generation or who I grew up with. Um, they were very limited it's, uh, for someone to come along and invest. Yeah. That kind of way. So did I seek it? I didn't even know what to seek. Um, a lot of good things happened, um, when people recognize what was in Toronto. Um, but, um, it, me personally don't know, I just basically just whatever I can get my hands on in order to do what I want to do as far as art wise, from what I can remember was a long time ago. Thanks, Lisa. That's true. I guess it was a long time ago for me too. Sorry. Yeah, I gotcha. I gotcha. So when you finished your, let's say under your high school education, and you decided to move forward with art training and art education, what were some of the things that you were considering when choosing the path to take, You know, um, I think what were the things I was considering it again? I just, yeah, I really think that, yeah, I really am thankful for the advisements. Um, those individuals who came along and to, um, who saw, or rather who had experienced or who had the education or who could direct me. Um, so I think that was really what was the, the driving force. People call it people all in Oregon, something else or whatnot, but there were some people that just came along and just says, Hey, listen, you know, let's go and take a look at this here. Here's some other options and open up at breadth of law, other opportunities, And you currently have another job that you do. So you're, you have your job that I guess supports you. So I'm sure your family is happy that you have that, given that That was a early prerequisite, I guess. Well, yeah, we use it, my family, my immediate family, or, You know, when you were suggesting that maybe there wasn't as much support for the art piece cause they wanted to make sure you could, you know, make, make a living, but you, and you currently do that. You have a whole other life, a whole other job outside of art Row, but it's going well. So you have that. And then in a parallel life, you also have the art yeah. Pushing into the art. Yeah. And how do the two things intersect or maybe not in our sector? Oh, you don't and You're sacked, you know, um, you know, Lisa to that piece right here on the wall, took out 256 hours to do that had to be scheduled and in conjunction with working full-time job and the other responsibilities and, uh, and also trying to get sleep. So, um, so we were averaging, I was averaging roughly by 25 hours every week in addition to a 45 hour work week. So, um, I don't know what, I don't know. I, I, I don't, I wouldn't call it an intersection. I would call it this more. So determination. It makes some choices and sacrifices or to do something that, um, I don't want to say that you want to, it's something that you believe you have to believe you're an early riser. What does that mean? Oh, 4:00 AM for you. I mean, to most people that's an early riser, I would think. Yeah. Do you do any of your art before you try to get into work? Or where do you schedule that? 4:00 AM. You know, I'm too busy trying to go ahead and try to take care of rods. I try to get some exercise in and um, yeah. And then, um, but no, not in the morning time to do that because I usually have to clock in or log in at 6:30 AM for your job, from a job. What job do you do that Causes student need to do that at 6:30 AM Or for the U federal? I used to work for the federal government and, uh, and that was, uh, that's part of what I, what I do. Yeah. So, yeah, so I work a pretty full day. So where do you fit all of these hours? Um, so I get up, I do a compressed schedule. This is the secret. So get up and log in at six 30, I do four, 10 hour days that sometimes have a 10 to 12 hour days. That's Monday through Thursday, then Friday and Saturday. That's when I get up at pain, excess between 10 to 13 hours a day and then another six hours or four to four hours on Sunday and do it all over again. So that doesn't seem to leave a lot of time for things like sleep. Well, the reasons why I get up so early, but then you also travel from Washington DC up to Boston, I believe for your education. Absolutely. In school. So I would catch a plank catch fly. Yeah, Thursday morning, a 6:00 AM flight and then, uh, go to a remote site log in on that Thursday and then leave of few hours earlier. I actually taking some leave and then go to, go to class and then go to class again all day, Friday, and then go to class again. They enjoyed your Saturday and then fly back to Washington DC. I mean, that's incredible dedication, I guess you got to believe in it. Yeah. Yeah. So I don't know. I mean, back to your question about, as far as the intersecting piece, I never looked at it like that. Yeah. So you have your job that enables you to make a living and then you have the art, which is how you make a life. Oh, hopefully they aren't, um, helped me to make a living. It's something I like to do. Yeah. I guess I'd say if that's what you're asking, how do I view the art, uh, path? Is that what you're asking? Well, I mean, I think you're bringing up something that's very real that in the end, you're I assume that at some point you'll stop working with the federal government job and move more fully into the art as your formal. Yeah, yeah. Hopefully, but Hey, it's still has to be supported. Yeah. One way shape or form You and I are not that dissimilar really. And you were asking me this question before, because I also have my other, my job, my real job, which doesn't really have a lot of intersection with what I do here. And I also feel really strongly about the work that I do here. And so for me, it is the fact that it is something that resonates with me so deeply that keeps me kind of pushing through and, and having this parallel, um, existence, I guess. Hmm. That's interesting. It's funny. Cause you said they, they it's almost like they both don't relate. Yeah. What I do, um, professionally or rather further for work and what I do here, they're basically the core. They basically, to me, they're the same thing. It's just communication. Yeah. Um, I think I wrote down one of the, um, one of the answers there, um, regardless, as far as, I think I mentioned it mentioned it at the beginning of there, but as far as communication and um, and it ties back into, as far as you go or rather you were asking, I can't remember which question it was, but when I said like the differences between abstract autism and, and um, representationalism, but you know, the thing about it is this is that I believe that it's a responsibility because image making is a responsibility. And, but for any interpersonal dynamic that has a responsibility, that's not just a right. So this is something that I think Susan and I appreciate as far as the company may use it. I see a lot of detail in it. This is a beautiful piece, but my objective or rather the whole objective is what is it that communicates whether or not you connect with it and whether or not it meets an objective. I mean, all communication has to meet an objective as opposed to just talking to someone or talking to handsome, or I just have something to say whether or not you're listening or not. Yeah. And, and to be fair also, I feel the same way about the work that I do. That's the core to both of the things that I do in my life really is communicating. Yeah. So, Yeah. And I know I don't have, I know this is an interview for me, but I'd love to ask you that question. I'm like, we really need some, tell me more. I mean, because like, you know, as a physician and then you're yeah. A phenomenal interviewer, um, yeah. I'm just like, yeah, yeah. It's like, you know, it's almost like, you know, a faith and practice kind of thing. It was like, really? What is it that, you know, the why? And then you have as far as okay. The implementation thereof. So I was like, you know, what's really housing intersecting there. Um, but yeah, a lot of times in my experience, as far as art, oh, I just felt like doing this or I've, you know, this is something that inspired me to do this, or I'm passionate about it, which I, my going, well, you can be passionate about just chewing gum. I'm just saying that, you know, there things. Yeah. But do you believe in it and why do you do, is this something that drives you? Not just so you can just get it out, but how does it affect other people? And I think that's a responsibility when people see your art, do they share with you what it brings up for them? Yeah. Yeah. No, it's funny. I'm I'm, I'm answering your question specifically. No, it doesn't what it brings up for them. Yeah. Yeah. It really depends on when the, what lens they're looking at it through. Yeah. Well, one of the things is that when I've spoken to other people who create art, um, that they enjoy, and I'm thinking of a conversation with Anne, Anne trainer dimming about her art and she doesn't put forth, she puts forth the art and then she waits for how people respond to it themselves, because she doesn't want to dictate what it is that they see or interpret necessarily. But then I think she's also kind of intrigued as to what kind of story that creates for them. Hmm. That's interesting. Yeah. I just, when you were just saying that I'm here, like case man, every aspect, every stroke is calculated for reason the plan there's planning there's strategy that goes into all of us. So I guess to me, I mean, for me, I, what is it I'm trying to achieve? What is it, the objective in the communication? There's a, there's a study that, uh, uh, research that says that a perception is, is made a person, makes a decision perceptionally within 4.5 seconds. And that's all I got to communicate now it's my responsibility. So I'm putting the strokes down in order. What does that I want to say and what I believe needs to be said, or what can I contribute in order to start the conversation? I didn't want to leave it to someone else. That's the reason why I think it's more, that's just where I come from. Yeah. So you, if you know that you have that 4.5 seconds, that's why you put all the planning and the strategy and you're meticulous in the way that you approach it, because you want to kind of maximize that opportunity. If I'm the one who's implementing, they are rather it's starting the conversation. I mean, I mean, wouldn't you think about what it is. Do you want to say to me before you got it? We're just left it up to me. Exactly. I look at it as far as just you're asking questions and you're like presenting something for something to think about, to respond and the question, and then give the opportunity for the question to go or whether the conversation to enlarge itself somewhere else in proximity. Well, that, and that is always kind of the balances you can plan and strategize for that 4.5 seconds. And then you have to have that openness for, for the other side, you know, and see where it goes because communication sometimes heads down paths that you can't really plan for. I Liked them where it, instead of openness, like to say invitation, that's a word. So you're inviting people to continue the conversation. People do engage. Yeah. That's important work. Exactly. It's a responsibility. I mean, not, not to get too philosophical about that, but I w I, I would suggest that one of the things that we really could use more of is that opportunity to engage. I think it's the most powerful tool we have. I mean, as an artist, I think it's the most powerless tool we have. We have the power to engage in. The question is what do we do with it? What have you seen your art? What have you seen your art kind of create, as far as that engagement is concerned, Opportunities to talk, converse that subject matter, converse with people. Yeah. Just opportunities to expand and enlarge conversation. Yeah. You get a chance for people to learn you, you get a chance to learn them and share. Yeah. It's been great while you're here. Yeah. I never imagined being in This part of Maine little John island, greater Portland. Yeah, exactly. You probably don't even quite know exactly where you are with this rapid turn around. Right. It's just, this is really A wonderful, wonderful trip. This was just wonderful. Absolutely. I didn't even heard a little John Allen until, until Emma told me, oh, we're crossing the Causeway going to little John out. And I turned back to Kevin. Oh my God, what were we doing? Well, Yeah, it's true. I mean, we're, we're two islands out into the ocean at this point. You've gone over a bridge. You've gone over a Causeway. We have boats going by on a regular basis. Yeah. In case in point, as far as with the urea, the question, I never imagined that we'd be sitting here. And, uh, and then the opportunity to be able to, um, for people that opportunity to get to know me as far as way up what I believe and, um, and being able to engage with me yeah. Through this platform. Is there anything that I haven't asked you that you think people would be interested to know about you? I have no idea. You know, I, you know, I know I have no idea. Um, I think the most important things is that, you know, it's, um, regarding, as far as the art one, I do, I do. And that I look forward to more opportunities to be able to maybe meet some of these people who are viewing this or listening to this. And, um, it may spur some other conversations. And I think that's really the whole, you know, you know, something, and I'm gonna say this is that a colleague of mine. He recently brought this up to me. He says, you know, rod, um, I'm really looking at being a quote unquote professional artist differently. And, um, he says, I am a friend of his sent him something on Instagram and it had to do with serving. What way does this serve other people? I mean, we're so used to make a name for ourselves are so used to trying to make money or to be so, you know, to validate or qualify that we are a professional quote, unquote, as opposed to a servant, I suppose, as someone that's trying to and whatever that oh. Trying to provide something. And, um, so, you know, I, I thought about that and I, I said, um, you know, talking over Kim, I said, you know, something, I used to be very, very art and about, okay, I want to be a full-time painter or rather a self-supporting painter. That's what it is. And, um, and now I'm not that now I'm okay with being a painter that's supported by me working a full-time job and whatever weight it takes. I mean, that's, that's not the objective, but really how does it serve somebody else? And, um, what does it do for them? And then we use so many words as far as inspire or, you know, and that means different things to different people, but, um, but really what benefit do they get? So that really challenged my thinking about why I'm not saying that it wasn't leaning that direction. Yeah. As far as, you know, to expose something, that's now to engage or to bring up a subject matter that I normally you've talked about people of color and representationalism, but, um, how they can benefit and how, you know, what does that look like for me as far as to, uh, to serve. And I'm like, maybe this was one of those ways. It's interesting how that unfolded for you. It wasn't necessarily what you thought you were getting into this for, but over time you are exposed to that possibility. Isn't that what maturity is? I think so thank think then as I'm maturing, I hope so. Well, it beats the alternative. Yeah, yeah, yeah. Immature or just staying stuck Now. Yeah. I wish I had the opportunity to interview you. What do you mean by stuck? Well, I think that the, I, my sense is that there are people for whom, um, uh, certain stages are reached in their lives and they keep kind of circling around that stage, no matter how much longer they walk the planet, they just kind of hang out in that stage indefinitely. And I think that that for me is always the hardest thing to understand, because I'm like, you think that we're all kind of continually in evolution and something about staying stuck in a stage is, um, seems like it would be challenging. I don't know why, why the word living keeps coming to mind when you were talking some like you stop living. Yeah. Wow. Yeah. I think that's the only thing that just said that I wanted to, it just came to mind pot for other people to know, or I guess about me or I perspective delegate it to my perspective or what as an artist. Well, I do hope people will, um, I guess we'll say respond to your invitation. Oh, I hope so too. You know, we, um, I mean, you, you watched the news and we're in a society and especially over the past 24 months where, uh, how many invitations are given. Well, I appreciate your responding to our invitation to come here today. We wouldn't miss it and she wouldn't have missed I'm wherever she is out on the island right now. So she would have been talking about Kim now. Thank you for bringing her along. Oh, oh, she, I wouldn't have had it any other way. We, um, I would add it any other way. I'm wondering that we we're we're in this together. Well, I hope that you both have the opportunity to enjoy really what's a wonderful day here in Maine or at least worth a trip back. Yes. We'll see how well, hopefully my negotiations will go well with that. Yeah. Yes. Yes. Well, we're trying to make it as easy as possible here with the wonderful weather that is being provided to move those negotiations in a positive direction. We'll put In a good word, Lisa, um, you know, you can like nudge or whatnot. I please, and just don't leave my name out of it. Okay. I'll do it in a very subtle way. Very good. Well, I very much appreciate having the chance to talk with you today. Thank you. Thank you for the invite and, uh, and the opportunity. Yeah. Yeah. It's not really, it's not, it's, it's not really something that, uh, some of the things I just, you know, talk about freely anywhere. So I'd think, you know, glad that we had an opportunity to put the, put it out on this forum. I've been speaking with Portland art gallery artist, Rodney Dennis, and I hope that you will accept his invitation to engage as I think that you'll find, um, he's a fascinating individual. There's a lot there. So take the time to learn more about his art through the Portland art gallery. And, um, at some point maybe he'll come back to Maine and be part of one of our in-person artist openings, and you can meet him in person. Thank you for coming today. You're welcome. Thanks for having me.