WESTERN PACIFIC, 2017 – 2018

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FullSizeRender.jpeg

WESTERN PACIFIC, 2017 – 2018

8,500.00

WESTERN PACIFIC, 2017 – 2018

JAMES ISHERWOOD b. 1971

ACRYLIC ON PANEL

SIGNED AND DATED ON VERSO

Sight Size: 20 x 24 in. (50.8 x 61 cm.)
Framed Size: presently unframed (framing can be rearranged).

ABOUT THIS WORK:

In James Isherwood’s most recent landscapes, elements are rarely as expected. Skies are bright pink or yellow, the grass is not always green, and the mountain ranges can be neon orange. In these enigmatic paintings, Isherwood has found a place where fantasy and reality merge to create a third zone, led by imagination and memory.

An Isherwood landscape might evoke the memory of a real place, tickle the feeling of a hillside or a pool of water. Yet, these are impossible, surreal scenes, built up with fragmented, architectural structures and set in otherworldly landscapes; yet his compositions are utterly harmonious with elements — man made and natural — all in synch. Painter Rene Magritte comes to mind in the clean edges of fantastic tree lines, silhouetted against night skies, populated with a density of tiny stars.

Isherwood’s formidable technique used to create these multi-layered paintings consists of applying hundreds of layers of acrylic paint with brushes, palette knife, old CD cases, fingers, rubber scrapers and print rollers that in turn are scraped away and reapplied. Some planes are opaque and flat, whereas other areas boast complex texture and pattern.

This current representational work has evolved from Isherwood's previously abstract, more conceptual work. Here, Isherwood appropriates the generic, four-walled building to use as the architectural protagonist in his current paintings, combining them with layered, textured environments. Furthermore, the simple geometry of the rural structure intrigues Isherwood and allows him to reveal the ever-changing colors and angles of the buildings.

ARTIST STATEMENT:

Hybridized architectural structures inhabit otherworldly shores and terrain. Atmosphere and place settle the surroundings. Quiet and parallel to the natural and man made, the paintings reference timeless moments, connecting places both visited and those of the imagination. The illogic of the seemingly concrete within the works, confront a series of assumptions based on perceptions of what is real. Mixing the intuitive and organic with an empirical approach, the paintings illuminate complex inner contemplation that questions notions of place, stasis, reflection and our personal navigation of public and private.

JAMES ISHERWOOD BIOGRAPHICAL PROFILE:

b. 1971 (Fall River Massachusetts, USA)
Lives and works in Brooklyn, NY

EDUCATION:

1993 BFA, Painting, Parson’s School of Design, New York, NY

RESIDENCIES:

2019
The Mabel Residency
The Norman Bird Sanctuary; Middletown, RI

2018
Virginia Center For The Creative Arts
Robert Johnson Fellowship; Amherst, Virginia

SELECT TWO-PERSON and GROUP EXHIBITIONS INCLUDE:

Susan Eley Fine Art (New York, NY)
722 Projects Space (New York, NY)
The Killebacksgarten Gallery (Sweden)
Brooklyn Fire Proof (Brooklyn, NY)
Beaudry Gallery (Dallas, TX)
Thomas Deans Fine Art (Atlanta, GA)
Art On Paper, PIER 36 (NYC)
Winter Selects Silvermine, Silvermine Arts Center (New Canaan, CT)
Reveal Art Fair (Saratoga Springs, NY)
Entirely Twelve Square, Eisenhauer Gallery (Edgartown, Martha’s Vineyard, MA)
Build It!, I.D.E.A.Museum (Mesa, AZ)
Friends With Benefits, Lorimoto (Ridgewood, NY)
Aqua Art Miami 2012
Fountain Art Fair, Camel Art Space (Brooklyn, NY)
The Christmas Show curated by Burr Dodd, Fireproof Gallery (Brooklyn, NY)
Small Works, Grey Art Gallery (New York University)

In 2018, Isherwood was a recipient of the Virginia Center for the Creative Arts, Robert Johnson Fellowship in Amherst, Virginia. While in rural Virginia, views of vast fields, hills and mountains impacted the artist’s viewpoint and ultimately found their way into his marvelous new series of paintings. In this, his latest few works, the architectural elements hide within the folds of a field or foothills of a mountain. As always, there is an absence of people, but traces of humanity are ever present.

From the age of 3 or 4, the artist was writing on the walls, and by age 5 was drawing constantly. He has spent his life as an artist.

[For more information on these and other exhibitions, please contact us.]

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