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| Red Glow 2011 acrylic and charcoal on canvas 42"x38" |
| Gold Necklace 2011 acrylic and charcoal on canvas 72"x50" private collection |
Synthesis
In my painting, I take a 21st century approach, an appropriation of
styles created by the 20th century avant-garde. Because my aim is
to keep the objective (how they are created, composition, line
structure, balance of forms and so on) balanced with the subjective
approach to art (the ideas pertaining to why create it and what it
says) I focus on the most visually based eras of 20th century
painting, those typically found in movements prior to post
modernism. One could say that I sample or loosely appropriate
purified styles and combine them into new works - a synthesizer if
you will.
In my painting, I take a 21st century approach, an appropriation of
styles created by the 20th century avant-garde. Because my aim is
to keep the objective (how they are created, composition, line
structure, balance of forms and so on) balanced with the subjective
approach to art (the ideas pertaining to why create it and what it
says) I focus on the most visually based eras of 20th century
painting, those typically found in movements prior to post
modernism. One could say that I sample or loosely appropriate
purified styles and combine them into new works - a synthesizer if
you will.
| Iron Trade 2011 acrylic, ink and charcoal on canvas 12"x12" private collection |
| Blue Gator 2011 acrylic and charcoal on canvas 41"x43" |
| Asylum Split 2011 acrylic and charcoal on canvas 36"x30" |
Entering the realm of abstraction I fully embrace the
20th century’s original strongest opponent to
representation, Cubism, the movement which rejected
the convention of perspective, unbending since its
discovery in the early 15th century. At the same time
Cubism was able to offer a justified alternative in
composition that contained space and structure.
20th century’s original strongest opponent to
representation, Cubism, the movement which rejected
the convention of perspective, unbending since its
discovery in the early 15th century. At the same time
Cubism was able to offer a justified alternative in
composition that contained space and structure.
The other essential elements like color, line quality, and
patterns in my work are influenced by a wide array of
works across the board from the early 1900’s Europeans
such as the Fauves, through the 1950’s New York school
with the large canvases and loose brush strokes to the
arenas of the Pop movement that embrace pattern.
patterns in my work are influenced by a wide array of
works across the board from the early 1900’s Europeans
such as the Fauves, through the 1950’s New York school
with the large canvases and loose brush strokes to the
arenas of the Pop movement that embrace pattern.
| 65 Degrees 2011 acrylic and charcoal on canvas 24"x18" |
| Untitled 2009 acrylic and charcoal on canvas 12"x12" private collection |
As I begin, I lay out sketches on large canvases in a
manner that is technically derived from gesture studies for
academic paintings or drawing that can lead one who uses
this style throughout the creation of a piece to make
composed works with loose lines and form, hence the
objectivity of my work. These lines I create often form
circles or squares, two common building blocks and visual
codes of our universe, circles being natural, squares being
manmade. To these I often add simple, often primary and
complimentary colors, leaving plenty of black and white to
neutralize their intense impact. I then (sometimes before)
lay on patterned objects to print or drip paint through. I
rotate my canvases constantly to achieve perfect
equilibrium. Nonetheless there comes a time when I set the
work at a preferred orientation for viewing. From this point
forward I build and rework. It often comes to a brutal battle
for me where I feel as though the painting is alive and
fighting me or maybe the painting is refusing me at every
turn. It’s like a war. Often my final brushstrokes are a final
blow to the work and….. That’s it.
manner that is technically derived from gesture studies for
academic paintings or drawing that can lead one who uses
this style throughout the creation of a piece to make
composed works with loose lines and form, hence the
objectivity of my work. These lines I create often form
circles or squares, two common building blocks and visual
codes of our universe, circles being natural, squares being
manmade. To these I often add simple, often primary and
complimentary colors, leaving plenty of black and white to
neutralize their intense impact. I then (sometimes before)
lay on patterned objects to print or drip paint through. I
rotate my canvases constantly to achieve perfect
equilibrium. Nonetheless there comes a time when I set the
work at a preferred orientation for viewing. From this point
forward I build and rework. It often comes to a brutal battle
for me where I feel as though the painting is alive and
fighting me or maybe the painting is refusing me at every
turn. It’s like a war. Often my final brushstrokes are a final
blow to the work and….. That’s it.
| Jungle 2009 20"x16" acrylic and charcoal on canvas |
| Screeen 2008 acrylic on canvas 72"x48" |
| Ethan Boisvert |
| Second 2008 72"x48" charcoal and acrylic on canvas |
| As Far as They Go 2008 acrylic on canvas 72"x48" |
