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Thought I Heard Your Voice Painting

Jeff Carpenter

United States

Painting, Oil on Canvas

Size: 34 W x 27 H x 2 D in

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About The Artwork

Thought I Heard Your Voice © 2005 Media: oil on paper on two canvases 27" x 34" (69 cm x 86 cm) Embedded in the paint are faint traces of this text: In the seagulls’ scrawing and the slap-slap-slap of the loose halyard against the flagpole this afternoon I thought I heard your voice again. And I watched to see if you might stop by just to say hello. All the kids were scratching out some sort of game in the sand below and the boats were coming back in the harbor and the screen doors were wheezing up and down the beach just as it had always been but without you. This painting is composed of two conjoined images with varying compositions. The left image depicts the interior view of a house, with a desk sitting in front of two large windows which look out onto the setting sun and the ocean on the horizon. A lamp with a tilted lampshade sits in the center of the composition. The surface of the painting appears to have been cut and rearranged slightly askew. The right panel depicts the side of a white house with a window reflecting violet hues of the setting sun. The cropped view of the American flag is seen waving in right side of the composition. The surface of the painting appears to have been cut and rearranged slightly askew. Embedded in the paint are the faint traces of a poetic text.

Details & Dimensions

Multi-paneled Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:34 W x 27 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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