It’s Static


Part Four
(This is the fourth in a series of five posts describing my aesthetic or artistic sensibility in more detail.)

My aesthetic is Static.

Okay, actually it’s not static.

Static is the term I use to describe the solidity and sense of timelessness I want to capture in my images. I would like it to seem that my simple archetypes have stood at rest in our memory, still like the imagery of the ancients. The first quality that one notices in my work is the formal and frontal presentation of the figures. I don’t paint action or figures in motion. The subjects are posed and fill the composition completely. Their bodies, limbs, faces fit like puzzle pieces on the canvas. Their gaze passively meets the eye of the viewer. This is stasis.

The dynamism in my painting is found within and in relation to the static impression of the solid figures. Movement comes from the way our eye wanders within the composition.

Bold black lines are like our tour guides as our eye moves over the painted surface. We are led to displays of pattern, light catching texture, sections of precise brushstrokes and contrasting surfaces of sparely painted canvas. We see colors blend, separate and reappear as highlights elsewhere. Lines create repeating shapes and divide the picture on horizontal and vertical axes. Diagonals bring us back to the beginning. What at first seemed static has real energy and, on closer examination, a lot of moving parts!

My aesthetic is static … and it’s not.

Internal movement in the painting Como Los Frutos (Detail). Line, pattern, texture and color.

Internal movement in the painting Como Los Frutos (Detail). Line, pattern, texture and color.

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