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Category Archives: Joshua Flint

Mnemosyne’s Daughters Series 19 | Aug

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mnemosyne’s Daughters Series:

Mnemosyne (pronounced, ni-mo-sa-nee) in Greek literature is the embodiment
of memory and mother of science, art, and literature. As the inventor of
words and language, she preserves the stories of history and myth (and
their entanglement), while being viewed more as a historical figure and
less as a god.

This series of paintings explores the blurring between fact and fiction
that dates back to ancient Greece, and beyond; while paying homage to an
underserved group, female fighters pilots, whose stories aren’t as well
known. The paintings are derived from historical women, however, they
function as archetypes or symbols rather than distinct individuals, and
thus are not portraits.

Even though the Greeks hadn’t realized how identity was formed or culture
preserved, on a scientific level their instinctual blending of fact and
fiction has been reaffirmed through neurobiology and modern scientific
advancements in studies of the brain. We collect experiences and every time
we return to an experience it is recalled differently, and in a different
way, forming new pathways to that memory. This amalgamation of continuously
altered memories forms one’s identity. As we remember others or our pasts
selves myth finds a way in. Analysis of our atomic particles has revealed
we are 70% comprised of star matter, so the worship of the celestial was
also insightful by the Greeks.

Space is the river of time much like memory.

Each piece is 12" x12" made with oils on cradled wood panel.
This series will be arriving very soon. If you are interested please
contact the gallery.

Bird Watchers 12 | Aug


[image: Flint_Bird Catchers_2017_oil on canvas_60x72.jpg]
Bird watchers, 60" x 72", oil on canvas.

*Bird Catchers *is a great example of my practice where I rely on the
subconscious to evolve the painting through its various phases without a
predetermined end point. If a work develops to a stage where it has lost or
lacks adequate tension, I’ll employ digital software to incorporate or
remove subject matter. By utilizing digital tools I can test new elements
or alter the current aspects found within the painting. I’m reminded of
T.S. Eliot, who called this phase ‘critical labor;’ the labor of sifting,
combining, constructing, connecting, and testing of imagery. I move freely
between traditional and digital tools until I’m satisfied with the
direction. This isn’t a strict approach but one that allows plenty of
fluidity of thought and flexibility in my practice. The two dancers in *Bird
Catchers *were in a variety of environments before the iceberg laden ocean
setting that exists in the painting today.


I'm reminded of Conrad Martin, the artist that traveled on the HMS Beagle
with Charles Darwin to record the landscapes and animals new to Europeans.
The voyages brought the human back closer to the environment versus the
separation that culture had pushed for centuries. You can see this in how
the figures merge or dissolve with the surrounding environment. The cycles
of the seasons and the passage of time are echoed in the diagonal
multi-present sun arching across the sky which connect the two figures. The
idea of time, seasonal change, memory, and the nature of recollection is
also present with the two dancers alongside the iceberg off in the
distance.


This painting is available and can be viewed in the gallery.

Electric Dream 05 | Aug


[image: Flint_Electric Dream_2017_oil on canvas_60x40.jpg]
Electric Dream, 60" x 40", oil on canvas.

Onlookers gaze in unison at the interaction between a man and two women,
one is clothed the other is not.



A neighborhood of box-like, modern homes are illuminated by those inside.



Two children are watching it all unfold.



Does *Electric Dream*touch upon an Orwellian theme? Is it a scene of
ritualistic activity to bind a community? Or, is it a conglomeration of
dreams where multiple storylines are made coherent in recollection? It
depends on your viewpoint.



The methodology with which I build my paintings leaves room for the
unexpected. I began this painting not knowing the exact outcome. Starting
with the subject matter: the man measuring the woman in the background. I
saw this interaction filled with multitudes: As a loving gesture between a
couple, as a clinical examination, or simply functional, much like a tailor
would use to make a dress. This tension is important and allows for the
rest of the painting to evolve. Throughout various stages, unexpected
topics or contemporary concerns can arise. This is very much the case
with *Electric
Dream. *



This painting is currently available and in the gallery. I’d encourage you
to expand your interpretation of the painting by rearranging the hierarchy
of the main elements and see where you land. Let RLS (@robertlangestudios)
and me(@studioflint) know on Instagram what you see.



‘Rivalry’ featured in Laphams’ Quarterly 17 | Oct



IMG_3444.MOV
The creative director at Lapham's Quarterly reached out to include my
painting, Rivalry, ( 36" x 48", oil on canvas, 2017) for their most recent
issue that came out mid-September. Each publication focuses on a specific
topic and engages the reader with short, easily digestible writing
interspersed with many great images from history. They believe history can
educate us across the many spheres of contemporary life. The current topic
is Rivalry & Feud.

This painting is not currently in the gallery, however, if you are
interested please get in touch with the good folks at RLS for more
information.



Electric Dream, arriving this week. 09 | Oct

With Electric Dream (60" x 40") arriving at the gallery this week I thought I'd share a few in-progress shots of the painting and a little narration. . .

You can see my repositioning of the size and placement of the main figures early on. I knew I wanted something happening at the bottom of the painting to give these central figures a dominant scale, but I hadn't decide what that would be.

Everything pivots around this figure and I needed to establish her first, although we don't see who she is.

The upper part is developing so now I stop to incorporate the lower section and sketch out the elements. Referencing Egyptian hieroglyphics, where the size of the king or queen tower above their subjects to denote importance, I scale down the crowd and building-like structures.

I'm always considering how the ground, the bright colors on the canvas, are interacting with the figurative elements I'm developing on top. In person this dynamic occurs much more than what is seen here. The negation and reestablishment of these bright colors was a constant conversation I had with the painting.

I'm always considering how the ground, the bright colors on the canvas, are interacting with the figurative elements I'm developing on top. In person this dynamic occurs much more than what is seen here. The negation and reestablishment of these bright colors was a constant conversation I had
with the painting.

Final Painting: note the two small girls in the bottom left corner that brought the painting together. It would fall apart with them . . . they act like little anchors on a big ship.

There are many ways to read the painting, perhaps a direct literal translation might not be the most engrossing. Much like recalling a dream upon waking, we thread a narrative through the imagery but there are many gaps that need to be filled in, in order for any type of coherence to happen. Maybe these elements as presented, which are a quilted patchwork of imagery, didn't all unfold in this fashion? A broad fragment of a narrative is being uncovered but we might not know what is entirely happening or what is going on. As with many aspects of our lives these events or experiences can be revealed and concealed at the same time, and in the moment the outcome may not be clear.

Embodied cognition is the theory that thoughts, feelings, and behaviors are grounded in bodily interaction with an environment and provides the fuel to concretize a memory. The key word being environment, a term that has much flexibility. It could mean an entire room, or a mere detail on the wall, or even a color. They can all function to instill a memory, creating a guidepost to allow us to access when needed. It is these stories we tell ourselves that are the founding of our identity.

(I've tried to sum up a lot. It is a complex line of inquiry with many slippery edges. So, if it's unclear I apologize. If that's the case, reach out and let me know -> joshbflint@gmail.com. Or contact the gallery and they can put us in touch.)

New Interview 12 | Jul

 

 

 

Hi All,

Here is the link to a recent interview I did with Execute Magazine
.
It was a enjoyable informal discussion on art, artist's perspectives (not
just my own), and the role of art in society.

There are a selection of newer works to view and a few shots of my studio.

Please click the above link or go here:
executemagazine.com/joshua-flint-sensibilities-and-lived-experiences/

If you are interested in any of the paintings in the article please contact
the gallery.

- josh

Another Look 07 | Oct

 

 

 

 

 

This archer was the original study for this Joshua Flint painting but Josh ended up painting him out of the final piece. Enjoy!

A Wonderful Interview 05 | Feb

 




Get to Know Joshua Flint a little better: www.silverlakevoice.com/interview/the-memoryscapes-of-joshua-flint/

KGervas Collection 26 | Jan

 



Three of Joshua Flint’s new works were just purchased for the KGervas Collection www.kgervas.com Which is perhaps the coolest collection of artists your work can be displayed with. Enjoy!

Joshua Flint 23 | Jan

 




Here’s a look at the big room with a bunch of Joshua’s pieces fresh from his museum show. Enjoy!

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