Category Archives: Painting

Edifice and Alchemy

Here are some images from my recent show at Belhaven University. The show will be open until March 25th, 2020.

Edificial Epistemologies. 2012-Present. Dimensions variable

 

Detail from Edificial Epistemologies. 2012-Present. Dimensions variable

 

Unfinished Edifice. 2020. 36″18″

 

Detail from Study for Eudoxia. 2020. 42″x19′

 

Jacob’s Ladder. 2020. 10’x6″

 

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Filed under Art, Art Show, Drawing, Jacob Rowan Studios, Painting

Thursday Thoughts: White and Red

Red is the most joyful and dreadful thing in the physical universe; it is the fiercest note, it is the highest light, it is the place where the walls of this world of ours wear thinnest and something beyond burns through.

White is not a mere absence of color; it is a shining and affirmative thing, as fierce as red, as definite as black. God paints in many colors; but He never paints so gorgeously, I had almost said so gaudily, as when He paints in white.”

~G.K. Chesterton

Choruses

 

Does anybody have any good quotes about black as a color?

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Saturday Studio Shot

Painting on the back of the mylar

Untitled, acrylic and ink on mylar

The back and front of an element that will be cut out and included on the 4’x2′ cathedral painting I’m working on.

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Thursday Thoughts: How a painting works

Proteus, Cy Twombly, 1984

The following is paraphrased from Roland Barthes’ The Wisdom of Art.

Whenever we look at a painting the question is, “what is happening here?” The picture is a kind of theater, the curtain parts, we watch, we wait, we receive, we understand, and when the scene is over and the picture gone, we remember. In a painting there occurs a fact, an accident, an outcome, a surprise, and an action.

The fact is the tangible substance we see. We imbue everything we see with meaning; the alchemy of painting is that despite the meaning the materials also remain stubbornly things (facts). Even if the painting is a result of precise calculation, there is still the impression of accident. We sometimes call this inspiration, a creative force that is the euphoria of chance. The fact and the accident together created an outcome, which is the overall effect of the work. This effect can not be located or described in a series of details. The outcome creates a surprise. In the Christian tradition we would call this illumination, a kind of mental shock which grants access, regardless of all known intellectual means, to truth. Last is the action, which is the viewer’s engagement with the painting. One can engage the painting from a place of culture (a familiarity with the references contained), from a place of specialization (an awareness of the historical and technical tradition), from a place of pleasure (aesthetic or conceptual enjoyment), from a place of memory (the ghost that follows the viewer long after they have left the painting), and from a place of production (the desire to re-produce the work that arises from an awareness of how the work was made).

 

 

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Filed under Art, Illumination, Jacob Rowan Studios, Painting, Quotes, Thursday Thoughts

Saturday Studio Shot

WIP-Cathedral [working title]

Working on a 4’x2′ drawing constructed from layers of cut out paper, mylar, and plastic. At the moment nothing is glued down and everything is subject to change.

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Saturday Studio Shots

WIP, Pen, ink, and Acrylic on Mylar

WIP, Pen, ink, and Acrylic on Mylar

Mixing on glass over a sheet of white paper is the easiest to quickly clean

I’ve discovered I like applying paint by dabbing masked-off areas with a sponge. This creates a flat, slightly textured area of color with no brushstrokes. Once the paint dries I will flip the frosted mylar over and you will be able to see the color through the layers of drawing.

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Thursday Thoughts: Looking at Julie Mehretu’s “Mogamma II”

Mogamma II, Julie Mehretu, 2012, 180"x144"

Mogamma II, Julie Mehretu, 2012, 180″x144″ (Be sure to click on image and scroll through the amazing complexity of the marks)

The above image is the second of Julie Mehretu’s Mogamma, A Painting in Four Parts. These four paintings were created around the time of the Arab Spring and consist of a complex web of gestural marks and vector lines overlaying technical wireframe drawings of Al-Mogamma (a government building in Tahir Square, Cairo). Mogamma is also the Arab word for “collective.”

All four paintings hung together to give you an idea of scale.

All four paintings hung together to give you an idea of scale.

Like most art, Mehretu’s paintings diminish when not seen in person. Much of the meaning of her work lies in experiencing these complex images at their massive scale and being unable to take in their entirety at once. They read one way from a distance, but as the viewer approaches they must select a portion of the image to examine more closely. Because it is physically impossible to see everything at once, the viewer must slow down and allow their eye to explore and discover the painting. Each person will see something slightly different as no two people will examine it in quite the same way. As Mark Godfrey said, “viewers have to abandon the desire to fully master what they see.”

Mogamma II, detail

Mogamma II, detail

In writing about Mehretu’s work Richard Shiff said, “The culture is complex, contradictory, and commodious; for better or worse, it tolerates extremes of opposition, assimilating diverse impulses, nevertheless avoiding collapse. To navigate a hyperculture of this sort requires a hyperimage, a perspective far more complex than a map of eighteenth-century trade routes…” I think what I find so fascinating about Mehretu’s work is the way in which her paintings function as hyperimages that juxtapose our perspective of chaotic experience with the suggestion of an underlying order. Her paintings are models and metaphors for a way of thinking about culture and reality.

Mogamma II, detail.

Mogamma II, detail.

“I think architecture reflects the machinations of politics, and that’s why I am interested in it as a metaphor for those institutions. I don’t think of architectural language as just a metaphor about space, but about spaces of power, about ideas of power.” – Julie Mehretu

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