Clarence "Skip" Measelle

Clarence “Skip” Measelle

South Florida based
painter, Clarence “Skip” Measelle, has been a full time artist since 1978.
After graduating from Florida Atlantic University in 1969 with a BFA degree he
taught art in the Palm Beach County School District for seven and a half years.
During this time he continued his college education at FAU where he earned a
Master’s degree in Art Education with concentrations in studio painting,
sculpture, and printmaking.

In 1975 Skip had his first
solo exhibit of his large scale “photorealist” paintings at the Norton Museum
of Art in West Palm Beach. The Norton show led to gallery representation in
Palm Beach, New York City, and Chicago. He resigned from teaching in 1978 to
paint full time after he sold a large “photorealist” painting for as much as his total yearly
teaching salary. A short time later he joined the “Circle Fine Art” Corporation
with headquarters in New York and Chicago and exhibited his work in their
galleries throughout the United States.

Skip’s paintings have been
exhibited in over 100 gallery and museum exhibitions throughout the United
States, England, Holland, and Switzerland. His work is in many private and
public collections including the Smithsonian National Air and Space Museum, Mississippi Museum of Art, Florida House of Representatives, Department of Natural Resources Florida
Department of State, Alabama Power Company, Miami Branch of the Atlanta Federal
Reserve, Palm Beach International Airport, Florida Atlantic University, and the
Morse Life Foundation, to mention a few.

Skip has occupied the same
warehouse studio on Georgia Avenue where he has worked for the last 35 years.
From 2003 to 2014 he was an adjunct professor of art at Palm Beach State
College in Lake Worth. He is currently teaching Mixed Media Painting once a
week at the Armory Art Center in West Palm Beach where he has taught since
1987.

Skip works mostly with traditional
and contemporary painting mediums while continually experimenting with a
variety of 2-dimensional, 3-dimensional, and illusionistic combinations. He
often employs an airbrush that he first picked up in the 70’s when he was
painting large “Photorealist” images on canvas. Recently he has been using discarded metal, paper and plastic objects for mark-making that he integrates with thick and thin spontaneous brush work.