Artist Profiles

Leonard Dufresne
"October" 2001
acrylic on wood panel
12 x 16 inches (30.48 x 40.64 cm)

TACTICS: Origin, Development and Realization Origin The pictures are fabrications originating in experience, observation, and imagination. Imagery from
those sources is transposed from mental to graphic form through the daily practice of drawing. The
elements of an individual picture are selected and deployed intuitively and deliberately through a series of drawings. Generally, a background structure, a room with its fundamental furnishings, is developed first. Figures are introduced next, followed by necessary and significant objects and costumes. The pictures are intended to be vivid, light-filled, judiciously presented visual responses to the question, "What is it like to live a life?" Their form is governed by an irresistible urge to marry their subjective content to the objective reality of a flat surface comprised of a unified and varied pattern of shapes, tones and colors. Drawing proceeds to a more specific arrangment of individual forms, and to the development of a vigorously implied spatial depth, though without reference to the illusory effects of linear perspective. This activity continues until the disparate elements acquire a degree of inhaled, engorged fullness, and coalesce into a reasonably coherent representation of a visual reality filtered through an individual sensibility. Some objects are enlarged for esthetic and expressive emphasis. The result is a comprehensive line drawing the size of the intended painting. Development This drawing is transfered to a finely sanded acrylic gesso-surfaced canvas. An underpainting is developed using black and white paint. This is used to transform the flat outline image into one of light and shadow, substance and space. This process can also reveal flaws in the design, and corrections can be made. When the underpainting is developed to a satisfactory monochrome image, painting begins. Realization The individual parts of each picture are rendered in a sequence that begins with the plane farthest from the viewer, (i.e. sky, wall) finishing with those parts that will appear nearest. Each part is painted with its own color mixed in four distinct tonal values. Additional values are sometimes required, but four properly distanced values can be made to convey a luminous and persuasive representation of an object touched by light in a space. The colors are applied very thinly over the underpainting, with four to six applications of each value required to produce a consistent transluscent skin modelled from light to darkest dark. The painting is guided by decisions made in the underpainting, or in response to the development of the picture overall. As the painting develops, subtle and significant alterations are made when they seem likely to improve the chances of the picture's attainment of a condition combining lively pictorial fluency with precise formal clarity.

Leonard Dufresne, 1999

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Robert Rohm
"Untitled (Two Panels)" 1999
steel, mesh with encaustic
100.5h x 22w x 22d inches (255.25h x 56w x 56d cm)
Collection of the Tucson Museum of Art, Tucson, AZ

This current body of work is an ongoing attempt to make "quiet" sculptures which are, for the most part, figuratively referenced. I'm interested in the "figure" as a relationship of parts, as a vessel or container. Can the figure be "present" through the manipulation of the forms of it's shell or covering. Can that form have a compelling resonance, being familiar and unknown at the same time. The sculptures come from a distillation and synthesis of complex and overlapping feelings drawn from within and are meant to elicit reflective and contemplative responses in the viewer. In formal terms, I want the sculptures to be blunt and straightforward. In some, their underlying structure is exposed. A form which can be both solid and transparent and which reveals its underlying armature as part of its rhythm is of considerable interest to me. The use of an encaustic surface facilitates this interest and adds the complexity and force of color to the equation.

Robert Rohm, 1999

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Daniel Douke
"Yellow and Coral" 2001
acrylic on canvas
18 x 18 inches (45.72 x 45.72)

It has always been the simplicity and straightforwardness of painting that has engaged me as an artist. What has interested me in a conceptual sense is that painting both creates and occupies space. Additionally, my work has always been concerned with the dichotomy of observational truths and abstract values. A constant has been my desire for the works to be a fabrication of appearance. It is the authority of the object that catches every day associations, those recognizable sparks of life. As a result, the paintings are specific and non-idealized and appear to be part of the real world. Currently the paintings are of boxes, representing Western Society's utopian belief in an electronic information paradise. In the computer paintings, I seek to visualize the pre-new (still in the box) as unique handmade artifacts that look like manufactured objects.

Daniel Douke 1999

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David Jokinen
"Untitled" 1998
concrete and steel
16 x 15 x 3.5 inches (40.5 x 38 x 9 cm)

If Art is truly individual expression, it occurs to me that how a statement is made becomes as important, if not more important, than what is said. The choice to use unconventional art materials like concrete, rust, wood, and steel has to hold as much significance to the builder of the objects as any message that these materials are intended to communicate. They should be somewhat explanatory of the individual who has adopted their usage. My preference for these materials and the recognition of their artistic potential has grown out of many years of working in the construction industry. I feel as though I have built a creative relationship with them through a long and often times laborious association. As in any relationship there must be an acknowledgment of capabilities as well as limitations. Out of respect and sometimes frustration, I promote cracking and do what I can to integrate that characteristic of the material into the final piece. This is always a subtle reminder that although I may impose myself on this material, I am never in complete control, and that there is oftentimes beauty in imperfection.

David Jokinen, 1999

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Lucian Mihaesteanu
"Untitled (Golden Afternoon On White Street)" 1995-99
oil on linen
38 x 30 inches (96.5 x 76.2 cm)

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Pat Howard
"Autumn" 1997
concrete on canvas
60 x 61 inches (152.4 x 155 cm)

"My paintings are inspired by the somber beauty of our industrial legacy. Sculpture and assemblage play an important part in my paintings. The process is one of building and the physical incorporation of support structures. I work with concrete on canvas to achieve a restrained surface and to emphasize the underlying structure and composition. This gives an industrial appearance of solidity and weightiness. The open space within many of my paintings is a metaphorical invitation to look beyond the surface."

Pat Howard, 1999

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