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| Details in the Fabric |
For many years John has used the traditional method of the triptych to
propel his narrative. Often grouping symbols that at times seem both ambiguous
and mysterious in order to create a dialogue with the viewer. These panels/symbols compete with each other
and demand our attention simultaneously.
However, we cannot mentally internalize each symbol and or marking
simultaneously and that is where the conflict begins.
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| Talk of the Town |
He has recently moved to layering images physically over top of one
another, sometimes this image is represented in a hard contour line and at
other times developed as part of the negative space matching the tone of the original
substrat. The symbol exposes itself to
the viewer, yet is silent in its presence. Not unlike Plato's Cave, they are
names of things that we cannot see, things that we can only grasp with the
mind. The viewer makes inferences for
things that are not truly there, we may acquire concepts by our perceptual
experience of physical objects. But we
would be mistaken if we thought that the concepts that we grasp mentally were
on the same level as the things we physically perceive in the material
world. The contour shapes of objects
over the drawing or paintings are much like the things we do not speak of and
carry within our person. At times the
silence of these shapes is based on suppressed feelings in order to protect
ourselves for fear of reprisals from others.
My work focuses on the use of narrative elements to not only physically
convey a concern/observation, but also to imply an intrusion of the viewer into
private events. The characters are
cropped much like a fragment in time or like a frame in a movie. Most often the characters are devoid of
facial recognition to suggest a greater universal experience.
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| Days of Autumn |
they are names of things that we cannot see, things that we can only grasp with the mind. Auctions
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