SundayS At September August 2019
Although I consider my work to be within a painting discourse, I use mostly textile techniques such as spinning, weaving and dyeing. I see these practices as allowing material variation, as well as touch (my own, a place’s, a process’s) to be recorded into material form. I spin the wool I use, by hand because it allows for the variation of line to be determined by the energy of my body, and the qualities of the fleece. I then weave, boil, and compress to create textile material of wavering density and with memory of spun contour. My wool is mostly sourced from Northern New Mexico- nearby to where I grew up- and the colors of the sheep determine the colors in my pieces.
The translucent components in my works are fragments of silk or linen painted with ground stone or graphite, and dyed with plant dyes such as indigo or walnut. I construct loose topographies for the ink to pool, but more I love seeing how liquid determines it’s own path.
Otis Jones’ works contain an ineffable quality allowing the viewer to focus on their essence. His abstract, circular wall pieces are provocative and engaging without leading the viewer by the hand. Jones liberates his audience by leaving them to consider the formal elements of color, scale and composition to achieve a personal and emotional response, shying away from attaching too much meaning to his work himself.
And while the viewer may initially respond to the physicality of his work, Jones also conveys a deep sense of spirituality within each painted surface.The physicality of the work is paramount for Jones. Works that at first glance may seem spare are, in fact, intensely physical. Jones uses part instinct and part experience as he works and reworks his surfaces, continually adding and subtracting.
Although Jones’ palette seems to be consistently monochromatic, further investigation reveals that each work is composed of various colors integrated, manipulated and worked to the point that the overall coloration is created by the visual tension of colors applied within the under painting.
The paintings are monochromatic, in a sense. They consist of similar but independent color, devoid of black and white pigments. These colors are separated by a physical boundary, the curved panel or sewn canvas.They are multiple and singular.They are the monochrome of both spectrum and form.
Constructing a painting this way feels more akin to the natural world. Fields of infinite color vibrate and surround us everywhere. Similarly, repeating patterns in nature are often overlooked as singular forms.The mind tries to make sense of it all. The monochrome, as well as the rectangular canvas, is a mental construction that is meant to reflect the natural world at its simplest.Yet in truth, they are lost in nature. Manipulation, deception, and being a willing participant as the truth is bent around us; this psychosis is fundamental to painting and lies at the heart of abstraction.
The foundation of Feyld’s work is the exchange between the physical, material, and more ambiguous aspects of the perception in painting. His recent paintings typically have upwards of 20-30 layers of paint and pigmented medium. Each layer is added and sometimes sanded, until the weave of the cotton canvas, or grain of the wood is no longer evident. Feyld is also interested in a paintings relationship to the space in which it is hung and to the viewer. Working with polyptychs as well as single panels, the paintings are sometimes hung above doorways, stacked, hung in succession or divided into the four corner’s of a wall where the exhibition space becomes an active part of the work.