Reverse side of acrylic painting on unprimed canvas.
Showing the vanishing but never ending perspective of our time. Paint is applied to the back of the canvas to change the perception of depth. Layers of paint are then applied to provide a faux ‘colorization’ or artificial dimension.
Talk about perspective, in the big arc of things, along with the invention of language, the Internet, etc – the first person seen by aliens would be a truly remarkable event [if it happens].
Justine Hill works her way through a painting and sorts out its meaning later, if at all. Which seems to make sense, since it’s hard to come to a consensus on art.
What would consensus mean anyway in the gallery of today? When people go to physical galleries, they schmooze and drink, with their backs to the wall. Almost seems like the art gets in the way.
The paintings are in 3-D segments loosely grouped together. Looser than a puzzle, but the shapes seem to be aware of each others’ proximity. So they are kind of Other and kind of Connected.
The surfaces are coated with sections of color and vertical dash type brushstrokes. Somewhat like digital pixelization.
She photographs the sections while she is working, to get a 2-D look before proceeding. Some kind of rationalization of dimensions that preceeds the next steps and impacts the final piece.
Quick quips on precedence and impact:
When computers became widespread I thought for sure it would impact literature. Hard to tell though, except in a roundabout way.
Artists now come to New York fully knowing what to expect, and Facebooking the hell out of it, before they arrive. That has got to have an impact on the art that gets made. Especially when you compare it to the way artists used to come. For cheap rent, for one thing.
After the precedence, there’s the impact, then there’s a stopping point. Like in Beckett – “I can’t go on, I’ll go on.”
That book didn’t go on though, not for me. It was totally over.
Not so with art – it really does go on.
Kelley Johnson’s work build on concepts from Op Art expanded field theory.
At first glance, they look like dimensional objects, but on closer inspection they become more like paintings, so there is a tension and shifting between the gaze and the glance.
Which reminds me of a chapter by the same title written by my old ‘pal’ Norman Bryson back in the 1980s.
All of which reinvigorates the subject of painting, which seems to have been partially subsumed into the digital sphere of late.
I made this painting harkening back to the first photographs ever taken. Sort of a Neo-Daguerreotype. All sorts of experimental techniques going on. I wonder if the idea of an image existed before the first photo, I guess not.
Once I asked a guy, who was not a deep thinker, when time began, and he said ‘whenever the first clock was invented’.
Gravity and perspective in art has changed.
This is one of several in which the image involves and implicates the viewer. Ideally it will even shift and build before your eyes as you consider, gaze, and glance.