"Return to Dimension X, by Andy Dixon" Painting by Jonathan Cheatwood

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*This painting is in an artist made Redwood frame*

Five years ago necessity was truly the mother of invention in my studio, then based in Arizona. With a desire to move beyond figurative work into large-scale abstractions — and a wallet that didn’t allow for those expansions, I began sewing canvases from drop cloth, found pieces of transparent silk brocades and burlap sacks (once filled with alfalfa or coffee), which I further embellished with bolts of white and indigo denim that I found in Tempe fabric stores. I had this new realization that I was piecing myself together. 

From there I create a second composition on top of my stitched canvas with a foundation for bold marks of color that are further adulterated with tube squeezes of black oil or acrylic. Referencing everything from the emotional abstractions of Willem De Kooning to the primitivist scrawls of Jean Michel Basquiat to the expressionistic flurries of Arshile Gorky, my “inorganic forms” are constantly exploring new depths of texture and symbolism.
*This painting is in an artist made Redwood frame*

Five years ago necessity was truly the mother of invention in my studio, then based in Arizona. With a desire to move beyond figurative work into large-scale abstractions — and a wallet that didn’t allow for those expansions, I began sewing canvases from drop cloth, found pieces of transparent silk brocades and burlap sacks (once filled with alfalfa or coffee), which I further embellished with bolts of white and indigo denim that I found in Tempe fabric stores. I had this new realization that I was piecing myself together. 

From there I create a second composition on top of my stitched canvas with a foundation for bold marks of color that are further adulterated with tube squeezes of black oil or acrylic. Referencing everything from the emotional abstractions of Willem De Kooning to the primitivist scrawls of Jean Michel Basquiat to the expressionistic flurries of Arshile Gorky, my “inorganic forms” are constantly exploring new depths of texture and symbolism.
*This painting is in an artist made Redwood frame*

Five years ago necessity was truly the mother of invention in my studio, then based in Arizona. With a desire to move beyond figurative work into large-scale abstractions — and a wallet that didn’t allow for those expansions, I began sewing canvases from drop cloth, found pieces of transparent silk brocades and burlap sacks (once filled with alfalfa or coffee), which I further embellished with bolts of white and indigo denim that I found in Tempe fabric stores. I had this new realization that I was piecing myself together. 

From there I create a second composition on top of my stitched canvas with a foundation for bold marks of color that are further adulterated with tube squeezes of black oil or acrylic. Referencing everything from the emotional abstractions of Willem De Kooning to the primitivist scrawls of Jean Michel Basquiat to the expressionistic flurries of Arshile Gorky, my “inorganic forms” are constantly exploring new depths of texture and symbolism.
*This painting is in an artist made Redwood frame*

Five years ago necessity was truly the mother of invention in my studio, then based in Arizona. With a desire to move beyond figurative work into large-scale abstractions — and a wallet that didn’t allow for those expansions, I began sewing canvases from drop cloth, found pieces of transparent silk brocades and burlap sacks (once filled with alfalfa or coffee), which I further embellished with bolts of white and indigo denim that I found in Tempe fabric stores. I had this new realization that I was piecing myself together. 

From there I create a second composition on top of my stitched canvas with a foundation for bold marks of color that are further adulterated with tube squeezes of black oil or acrylic. Referencing everything from the emotional abstractions of Willem De Kooning to the primitivist scrawls of Jean Michel Basquiat to the expressionistic flurries of Arshile Gorky, my “inorganic forms” are constantly exploring new depths of texture and symbolism.
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"Return to Dimension X, by Andy Dixon"

Jonathan Cheatwood

United States

Painting

Size: 41 W x 52 H x 2 D in

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About The Artwork

*This painting is in an artist made Redwood frame* Five years ago necessity was truly the mother of invention in my studio, then based in Arizona. With a desire to move beyond figurative work into large-scale abstractions — and a wallet that didn’t allow for those expansions, I began sewing canvases from drop cloth, found pieces of transparent silk brocades and burlap sacks (once filled with alfalfa or coffee), which I further embellished with bolts of white and indigo denim that I found in Tempe fabric stores. I had this new realization that I was piecing myself together. From there I create a second composition on top of my stitched canvas with a foundation for bold marks of color that are further adulterated with tube squeezes of black oil or acrylic. Referencing everything from the emotional abstractions of Willem De Kooning to the primitivist scrawls of Jean Michel Basquiat to the expressionistic flurries of Arshile Gorky, my “inorganic forms” are constantly exploring new depths of texture and symbolism.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:41 W x 52 H x 2 D in

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Playing a strategic game upon the surface of his often raw, large-scale, stitched together canvases, Cheatwood plays a set of related decisions in a step-by-step rejoinder to each possible move. The working process plays out at the sewing machine, then to the studio floor then the walls and back to the floor, as the artist simultaneously moves from canvas to canvas, leaving behind the detritus of his own accidental marks, shoe prints, dropped and spilled materials, etc. so the work tracks its own history, the reality of the studio environment and the physicality of making these paintings as if he is formulating his own autobiography with fabric and canvas. With bold colors, clean lines, occasional text and raw power that all merge into a rough and ready approach, that somehow remains elegant and visually seductive, these paintings point to a positive future for the young artist

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