“Instances,” A New 2016 Series

In January, 2016 I started a new series, “Instances.” My goal is to create a body of work based on fleeting moments, glimpses of experiences. The initial project was to complete 20 encaustic images, 18″x18″ on 22″x30 Fabriano Artistico. This was accomplished at the end of May.

After my 3rd piece in the series, I wrote an artist statement, to keep on track.

Instances Series                                            1-20-16

Instances, the first works of 2016 are based on using essential visual language to reveal visceral reactions to daily encounters.

Encounters may selectively hit a nerve, or work in combination to provoke a response: verbal, physical, emotional, or intellectual instances translated to visual mass, velocity, color and texture. They may be those we choose, or moments that happen to us.

 “These pieces are color and texture explosions-energy captured in containers of rectilinear form.”

  “I’m intentionally not trying for the perfect calligraphic mark. Instead, blunt, ungracious blasts of paint off rough bristle brushes move over the surface on their own trajectories, for their own purposes.”

These reductive, primal expressions represent the essence of what is left from an encounter once the knowable is stripped away. By removing recognizable elements, what remains are responsive, experiential marks. The enigmatic feeling of an encounter made visual.

The images are in sequence by season/month for the first part of the year, starting with the winter images at the bottom. You will see the color palette change from cool wintry colors, to warmer spring colors. (Click on images for titles, and slide show.) 10 of the 20 images are shown here.

Advertisements

Exhibit: Excerpt: #821 Selected for Invitational: Fantastical: Art of the Imagination

Excerpt: #821 was selected for the invitational Fantastical: Art of the Imagination. The exhibit will run from August 25-September 19, 2014, with a reception on Wednesday, September 3, 6-8pm. The exhibit is located in the Donald D. Shook Fine Arts Building, on the beautiful grounds of St. Charles Community College, 4601 Mid Rivers Mall Drive, Cottleville, MO 63376.

Excerpt: #821 Encaustic with Oil Stick on Cradled Board 36"x48"x2.5" 2014

Excerpt: #821
Encaustic with Oil Stick on Cradled Board
36 “x 48″ x 2.5”
2014

This painting is part of a larger series that explores the idea of excerpts or sections of a larger whole, slices of experience that carry meaning: planes of color-space, textural grunge layers, and energetic calligraphic marks convey feelings and clues to an ambiguous location.

Gallery Hours

8 a.m.-8 p.m.
Monday-Thursday

8 a.m.-4 p.m.
Friday

10 a.m.-3 p.m.
Saturday

Solo Exhibit at St. Charles County Arts Council June 1-30, 2013

Join me for a solo exhibit at the Lillian Yahn Gallery, St. Charles County Arts Council. Over 40 works of art. Easy to find in Winghaven, O’Fallon, MO. 7443 Village Center Drive, 636-561-0028.

show card

Sisley-Blinn/Mixed Works
Paintings, Drawings, Prints
Solo Show. June 1-30, 2013
St. Charles County Arts Council

I will be at the gallery from 1-8 pm on Saturday June 8 for the reception. There will be an encaustic painting demonstration at 3pm.

Artist Statement

I am drawn to the ideas of liminality, chaos and deeper order, and the subsequent  visual constructions of atmospheric environments overlaid with ordered structures.

In other words, in the process of decoding the bombardment of daily information, I try to focus on key concepts of visually fascinating instances.  To get to the essence, I strip away the social-cultural temporal interpretations, which leads me to a moment of defined introspection. A cusp between the representational and the knowable, and the less tangible properties of emotion and non-linear identification.

As an example, what may have started as the observation of a wintered field, becomes a recursive process of refining the visual planes, a study of the saturation and dispersion of coloration within the landscape space over time, and the reduction of extraneous noise, such as telephone wires and poles, cars and people, billboards and street signs. Eventually I come to a balance of the essential elements. The question of, “What is catching my attention about this scene?” is closer to being answered.

Often, a horizon line of trees that wind break one field from another may slide up or down the defining space of the painted rectangle. The decision of more sky or more field may result in the line of demarcation sliding off the edge entirely forcing a reevaluation of the newly created internal landscape dialog.  Maybe I didn’t actually need the trees, field or sky. Perhaps it is the references that are constructed by light and shadow, texture and pattern that are the subject reinforced by the cool or warmth of the day, energizing scents of the woods, sounds of the birds. The divining out of the essential  experience of the space pushes the composition across the cusp from realism to abstraction, from the knowable to the “less sure.”

This chaotic imagery of fluid color and implied movement can be disorienting. So superimposed systematic shapes,  grids and restraining lines, repeated patterns and textures are used to create stability: structure over chaos grounding the visual experience. Like looking through a rectangular window frame at the blowing garden leaves and petals on a blustery day. These spots and flows of moving colors, patterns of light and texture, reveal the path of the wind, and perhaps our thoughts.

Mixed Works: A Survey of Work in Various Mediums strives to cover several years of art creation that steps back and forth across the cusp of tangible and intangible interpretation. From minimal landscapes, abstracted bouquets, to distilled internal discussions dependant on color, texture, and pattern which create meanings and relationships. Over all, it is my hope that each piece offers a meditative space, a visual moment of contemplation.