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Calling All Stations Painting

Jeff Carpenter

United States

Painting, Oil on Aluminium

Size: 34 W x 26 H x 2 D in

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About The Artwork

Calling All Stations © 2013 Media: oil & ink on aluminium 26" x 34" (66 cm x 87 cm) This painting is from the first roll of double-exposure film that started my Polyphony series, in 2006. The process is to shoot all the way through a roll of film, roll it back and put it away for a few months or years. Then rethread it in the camera so you don’t even know if you’re lined up with the frame of the first shot… hoping for an overlap. Then shoot the whole roll through again, with only a basic guideline of how to shoot the A roll versus the B. These were the most interesting two images I have ever seen: two frames that occurred one after the other. There was a different image for the background of the left panel; it was the beach shot at 90º and it was so radical that it was what got me excited to start the series. But it was the most challenging of the series and after I had showed it a few times I realized it was too radical, and I painted the night ocean scene, which I prefer. It gives the stage to the two foreground images, the scene out the window in two stuttered takes. I think that it is the best I’ve done yet in my quest to up the ante of cubism: slightly changing the point of view. And not only that, but slightly changing the time of view, like frames in a movie.

Details & Dimensions

Multi-paneled Painting:Oil on Aluminium

Original:One-of-a-kind Artwork

Size:34 W x 26 H x 2 D in

Number of Panels:2

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Carpenter was born in 1953 in Greenville, Delaware, U.S.A. He studied with the painter Tom Bostelle near home and then went to the Rhode Island School of Design, where he earned a BFA in Film, in 1976. His work has been shown at the Museum of Contemporary Art, Denver, P.S.1, New York, and the Centre Pompidou, Paris. Carpenter's painting style is a cross between old master techniques and expressionism. He makes marks with flicks of a fully-loaded palette knife, but to a precise rendering of hue and tone in a representational image. The image is built up in countless layers of oil glazes, much as Vermeer worked, only in thick impasto. Peeking through the layers are often the transparent traces of a map or poetry. This idea is borrowed from pentimento, the inherent feature of oil paint that, as it dries, it becomes more transparent, revealing what's underneath.

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