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“Teetering Polygons” was part of a solo exhibition titled “Before the Sun Goes Down” that showed at The Vernon Public Art Gallery (May 27 - July 12, 2019.)

“Before the Sun Goes Down” alludes to the period at which the sun crosses the horizon - A magical time of day, when bright unpredictable colours at their height of vibrancy dance with sharply contrasting shadows to create vistas that seem to come alive.

With this exhibition, I had likewise endeavoured to capture a heightened sensation of visual acuity. Juxtapositions of hard edged rectangular shapes, imbued with intense unbroken colours, simplify spacial relationships and emphasize the flatness of the pictorial plane.

My use of anomalous colours distinguishes adjoined shapes, while arrays of subtly unnatural colour gradations act to deepen the illusion of superimposition. Additionally, by arranging the rectangles slightly askew and distributing them unevenly, a quality of fluidity was added to these open compositions.

I’ve expanded the range of curatorial possibilities by using reconfigurable diptychs to offer alternative impressions. In some cases, the pictorial image was transformed into a sculpture like object by stripping away the background, making the stretcher bars conform to the contours of the coloured shapes.

Cumulatively, these visual artifices aim to foster an uneasy calmness. My desire is to disrupt the viewer’s inherent paradigms of conditioned thought with works that are lively yet still, bewildering yet comfortable, and simple yet challenging. Associative gaps are created through conflicting dualities. These disconnects encourage the eyes of the viewer to swim about the images, searching for resolution, resulting in the emergence of new perspectives.

“Teetering Polygons” is a reconfigurable diptych. Included with the picture is a card illustrating alternative artist preferred arrangements which fit a variety of structural contexts.

This painting is acrylic on clear gessoed 10 duck canvas stretched on 2 (30”X40”) panels. It’s signed on the side and back, unframed, stretched, wired, and ready to hang.

The image shown wraps around the corner of a wall. Being that this work is irregular in shape the outside perimeter dimensions of the image (as shown) occupies an area of 40”H X40”W on the left wall and 40”H X30”W on the right wall.
“Teetering Polygons” was part of a solo exhibition titled “Before the Sun Goes Down” that showed at The Vernon Public Art Gallery (May 27 - July 12, 2019.)

“Before the Sun Goes Down” alludes to the period at which the sun crosses the horizon - A magical time of day, when bright unpredictable colours at their height of vibrancy dance with sharply contrasting shadows to create vistas that seem to come alive.

With this exhibition, I had likewise endeavoured to capture a heightened sensation of visual acuity. Juxtapositions of hard edged rectangular shapes, imbued with intense unbroken colours, simplify spacial relationships and emphasize the flatness of the pictorial plane.

My use of anomalous colours distinguishes adjoined shapes, while arrays of subtly unnatural colour gradations act to deepen the illusion of superimposition. Additionally, by arranging the rectangles slightly askew and distributing them unevenly, a quality of fluidity was added to these open compositions.

I’ve expanded the range of curatorial possibilities by using reconfigurable diptychs to offer alternative impressions. In some cases, the pictorial image was transformed into a sculpture like object by stripping away the background, making the stretcher bars conform to the contours of the coloured shapes.

Cumulatively, these visual artifices aim to foster an uneasy calmness. My desire is to disrupt the viewer’s inherent paradigms of conditioned thought with works that are lively yet still, bewildering yet comfortable, and simple yet challenging. Associative gaps are created through conflicting dualities. These disconnects encourage the eyes of the viewer to swim about the images, searching for resolution, resulting in the emergence of new perspectives.

“Teetering Polygons” is a reconfigurable diptych. Included with the picture is a card illustrating alternative artist preferred arrangements which fit a variety of structural contexts.

This painting is acrylic on clear gessoed 10 duck canvas stretched on 2 (30”X40”) panels. It’s signed on the side and back, unframed, stretched, wired, and ready to hang.

The image shown wraps around the corner of a wall. Being that this work is irregular in shape the outside perimeter dimensions of the image (as shown) occupies an area of 40”H X40”W on the left wall and 40”H X30”W on the right wall.
Alternative hanging arrangements.
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Teetering Polygons Painting

Todd Schulz

Canada

Painting, Acrylic on Canvas

Size: 70 W x 40 H x 1.5 D in

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About The Artwork

“Teetering Polygons” was part of a solo exhibition titled “Before the Sun Goes Down” that showed at The Vernon Public Art Gallery (May 27 - July 12, 2019.) “Before the Sun Goes Down” alludes to the period at which the sun crosses the horizon - A magical time of day, when bright unpredictable colours at their height of vibrancy dance with sharply contrasting shadows to create vistas that seem to come alive. With this exhibition, I had likewise endeavoured to capture a heightened sensation of visual acuity. Juxtapositions of hard edged rectangular shapes, imbued with intense unbroken colours, simplify spacial relationships and emphasize the flatness of the pictorial plane. My use of anomalous colours distinguishes adjoined shapes, while arrays of subtly unnatural colour gradations act to deepen the illusion of superimposition. Additionally, by arranging the rectangles slightly askew and distributing them unevenly, a quality of fluidity was added to these open compositions. I’ve expanded the range of curatorial possibilities by using reconfigurable diptychs to offer alternative impressions. In some cases, the pictorial image was transformed into a sculpture like object by stripping away the background, making the stretcher bars conform to the contours of the coloured shapes. Cumulatively, these visual artifices aim to foster an uneasy calmness. My desire is to disrupt the viewer’s inherent paradigms of conditioned thought with works that are lively yet still, bewildering yet comfortable, and simple yet challenging. Associative gaps are created through conflicting dualities. These disconnects encourage the eyes of the viewer to swim about the images, searching for resolution, resulting in the emergence of new perspectives. “Teetering Polygons” is a reconfigurable diptych. Included with the picture is a card illustrating alternative artist preferred arrangements which fit a variety of structural contexts. This painting is acrylic on clear gessoed 10 duck canvas stretched on 2 (30”X40”) panels. It’s signed on the side and back, unframed, stretched, wired, and ready to hang. The image shown wraps around the corner of a wall. Being that this work is irregular in shape the outside perimeter dimensions of the image (as shown) occupies an area of 40”H X40”W on the left wall and 40”H X30”W on the right wall.

Details & Dimensions

Multi-paneled Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:70 W x 40 H x 1.5 D in

Number of Panels:2

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Todd Schulz was born 1972 in Calgary, Alberta and presently resides in Vernon, British Columbia. This autodidactic Canadian artist specializes in Hard Edge Geometric Abstract painting. His application of a well defined minimal aesthetic aims to immersed the mind of an observer in stillness. Todd Schulz regularly participates in group shows at the Vernon Public Art Gallery, Vernon, BC. Also, he is represented as a gallery artist at ARTE Functional in Kelowna, BC. His works are in private collections internationally.

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