- Exhibition: RECONFIGURED II
- Showing: January 18th 2018 - February 24th 2018
For me the essence of art is the exploration of fundamental issues of our time. The meaning of life and the human condition are themes of interest. This is the larger conversation; the wider dialog that I want to be part of and so I explore intolerance, discrimination, addiction and violence with its victims, witnesses and survivors.
My large portraits start with an ambiguous expression, shared gaze and uncertain context calculated to provoke you into creating the narrative. I use a limited pallet of acrylic paint along with metallic and iridescent colors that produce changing patterns with changes in lighting and view angle.
Working freely, I drip, brush, pour, scrub and scape paint while applying a variety of lines, dots and other adjustments. I often paint multi-views or facial features slightly out of alignment. I frequently paint vaguely different expressions for each side of the face. These variations might make my images appear more real as time, half remembered memories, and prior experiences affect your perception.
I am dedicated to exploring visual elements that challenge traditions in painting. In my work, I focus on the process and interaction of layers that become meaningful and rich upon further examination. My philosophy is to be sentient through my raw figurative interpretations that make for a visual confrontation. I find tension to be the most meaningful facet of my artistic and aesthetic investigations. A context in which I am challenged to make the union of these ingredients appears intuitive. My work is driven to represent the elements of nature that surround us, creating a language that has universality. For me, beauty is stretched between elements that offer stimulating contradiction. Turning historical figurative references into a contemporary dialogue of social (and sometimes political) engagements. My process of making art is the conscious struggle between a purely personal expression and by the subjects that are universal to us all. Whether figurative or completely non-representational, this is the inspiration and backdrop of my work that I’m most interested in exploring.
JASON LEE GIMBEL
Known for his monumental figurative paintings, Jason Lee Gimbel renders full figure works through abstraction-expressionist brushwork and non-naturalistic colors. His instinctual approach, random use of color and mark making pushes figurative work to the edges of representation and, in some instances, into abstraction. These painted drawings breaking up the surface through a visual harmony that disrupts the partially outlining figures. Providing the viewer with a complex balance between the merger of the figure and background.
In addition to painting, Gimbel creates classically informed drawings. Often depicting the human figure with the skin removed to display the musculature. These écorché drawings borrow from Greek mythology, classical sculpture and traditional figure drawing. He incorporates visual metaphors that explore the ephemeral qualities of the yellowing and degrading newsprint on which they are drawn. There is a playful juxtaposition of these large scale drawings with larger than life size staples, magnets and thumb tacks. An optical perception is often associated with Alice in Wonderland Syndrome.