Joshua Flint, July 2012
Opening July 6, 5-8 pm
There was a coalescence between memory, emotional experience, real-life places, and I provided space for the paint to take me
This new body of paintings explores the personal narrative as something dynamic, multilayered, and anchored in mystery. The genesis for this work has its roots in the urban scenes I serialized in the two previous exhibitions at the gallery. As those paintings developed I started to invent small passages of the urban landscape based on memory and my experience of it; allowing the emotional content to alter the true-to-life events. Increasingly, I began to change larger and larger sections of these urban-scapes to the point that many were completely made up and not a real place at all. I thought it was interesting how someone could think it was an actual location but it didn't really exist.
There was a coalescence between memory, emotional experience, real-life places, and I provided space for the paint to take me in unexpected directions. This refining of my ideation ( idea+creation) process also changed the outcome. The end result were images that lent themselves to a more dream like quality but were grounded in realism. I think this body of work carries forward those intentions and brings in new imagery to expand the narratives.
The basis of the work considers the impact of memory and how it shapes our story. Time and our experience of the world isn't a linear progression. It is unlike how minutes and hours track our days. Things can "take forever" or " go by so fast." These paintings examine how the interior world of the mind interprets the angled truth of exterior reality. Although I felt like I was using multilayered imagery before, here I'm directly showing the confluence of event versus personal interpretation. This use of imagery creates a more honest representation of how we experience the world. My intention is to open up a dialogue with the viewer and have these paintings open the door for their own narratives.
I am showing both full color and limited palette paintings. The limited palette works may appear monochrome but there are plenty of subtle color nuances. The reason is simple: certain ideas are best expressed by the addition or restriction of a full color palette. As each piece develops in the preliminary stages I usually have a feeling as to what color range will work out best for the idea. When the work is hung I enjoy how the paintings play off of each other from a visual standpoint. The title of the show also reflects a point of departure for my working methods. I have expanded my net of resources to collect images from family, friends, things I discovered in old shops, the internet, and of course my own sketches. A new piece starts with me being fascinated by something in one of these references. Then it unfolds from there. I tend to work fluidly between the computer to mock up ideas quickly, preliminary studies, and the painted surface. Going back and forth is not uncommon to develop a final painting. One of my favorite quotes is from Alex Kanevsky who states " that painting isn't something that I do to a canvas, it is . . . a conversation." I think this summarizes the complicated nature of painting in an elegant way.