October 7 - November 13, 2021
From Craighead-Green Gallery:
“Definition: Viewpoint – American English
The mental position from which things are viewed and judged; point of view.”
The subject of Viewpoints began to emerge with this body of work over time as viewers often ask about the source of inspiration. When I explain that while I do refer to photos as a jumping off point and for references to architectural spaces, they are just that; a beginning point. The paintings are an assemblage of several things I likely saw in and around the main location; and on occasion, completely unrelated locations. I sketch and re-sketch a layout and design to capture, not only a pleasing plan of the space, but to capture even more; such as the way one might be looking straight ahead but something, from another direction makes its way into the composition. More times than not, the figures are invented along with other elements to make the composition complete. While my work would not appear similar to cubism, it is based on the same principle.
So, what is the relationship?
Cubism is defined as an art movement that has left a lasting impression on the world of expression
as a whole by bringing attention to different perspectives.
Analytical (vs Synthetic) Cubism broke down an object from multiple viewpoints
and re-configured them so that every aspect of the image could be visible on a 2D plane.
The principle of Cubism can be described as the artist’s efforts to deconstruct the usual portrayal
of a subject or scene and create a collage of visual depictions that give the viewer
many different perspectives of the subject. It is often described as deconstructing the subject
only to reassemble it in ways that highlight various viewpoints
in which the viewer may not have considered on their own. (*)
I recognized that these images are viewpoints because they developed from a multitude of points of view as well as subject matter and mindset. When combined, they create the stage and setting for my visual stories.
There is more than initially meets the eye in these paintings and more than a camera lens, alone, would capture. I challenge the viewer to see the stories behind the images. I never forget to realize that fine art should engage the viewer on an intellectual or an emotional level; if not both. While not intending to elevate one type of art over another, that is the basic criteria setting fine art apart from decorative art.
Paintings included here are an assembly of viewpoints. They are my memories of places seen in the past as well as pieces of life today, in the present; that combine to tell the stories that emerge. I see them much like reading the stories behind the paintings of Edward Hopper, Johanne Vermeer, Rembrandt, and some of the Bay Area Figurative Painters of the 50s who have all, like the Cubism movement in art, been an influence on my work.
(*) www.artst.org/analytical-cubism-vs-synthetic-cubism/
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