VIEW IN MY ROOM
your brother's blood cries out to me Painting
United States
Painting, Acrylic on Wood
Size: 96 W x 24 H x 2 D in
Ships in a Crate
Artist Recognition
Showed at the The Other Art Fair
Artist featured in a collection
About The Artwork
Hi Kim, I’m pleased to hear that people seem to like the painting...and that someone might be interested in purchasing it. Kathy and I would miss it because it has been hanging in a prominent spot in our house. Few of my paintings are pictorial representations of what I see; they are abstract representations of ideas I am exploring or emotions I am feeling. The titles of my paintings are sometimes semi-random. When I complete a painting, I sign, date and number it on the back. Then I give it a title. I may pull a book off the shelf in my studio, open to a random page and scan the text for a phrase that speaks to me at the moment (see studio photo). Many of my paintings include text as a visual element. In that case, the title will come from the text on the painting. And sometimes the title reflects my emotional response to the world around me - here in the mountains or world/national events. I worked on the painting “Your brother’s blood cries out to me” for a month or more. In a separate email, I’ll send a couple of photos showing stages of the painting as I built up its layers. Many of my paintings have multiple layers with the past shining thru or peeking through into the present. Sometimes I’ll sand or scrape the surface to reveal the layers underneath. 5 days before I completed the painting, George Floyd was murdered on the street in Minneapolis. I deeply believe that we are each other’s brothers and sisters. This murder was a horrible injustice...and at the same time echoes a crime from our human beginnings: Cain’s murder of his brother, Abel. The quotation comes from the Book of Genesis and is God speaking to Cain. No, the painting does not literally represent that story, but the title reflects my emotional response to the events of the day. Custom-built hardwood float frame. Ready to hang. John
Details & Dimensions
Painting:Acrylic on Wood
Original:One-of-a-kind Artwork
Size:96 W x 24 H x 2 D in
Frame:Other
Ready to Hang:Yes
Packaging:Ships in a Crate
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
The work itself. The painting. The ink work. Calligraphy. The psychic state of work-driven contemplation that focuses the mind, heightens awareness, frees the ego and makes time dissolve. That is what drives me. I work from the kernel of an idea or a feeling; not a plan. Even when there is a design, my work is spontaneous, improvisational, jazz-like. My precision is imprecise, my exactness is inexact. Perfection is an evil genii I aim to expose. My work invites close inspection: contemplation of imprecision, inexactness and imperfection. Many of my pieces have multiple layers. They have their own history, manifold incarnations, patterns that compete with one another, contrast, complement, build complexity, or reduce to simplicity. Over the last twenty-five years I have worked consistently and intensively in the studio. Beginning with assembled objects in painted boxes, one medium led to another, one style to another in an ongoing intuitive exploration. Three-dimensional assemblages led to two-dimensional collages I dubbed ‘woven photos.’ Then followed three-dimensional ‘tape on books’: books mummified within quilt patterns of colorful electricians tape. Then abstract painting: vaporous landscapes; neo-geometric; anti-minimalist; text-based paintings that challenge comprehension or shout TRUTH; post-modern mandalas; multi-layered matrices; constructivist networks; paintings sawed into pieces and recombined into mosaics. And whenever I butt-up against a dead-end in my painting, I reach for paper and sumi ink to simplify my thoughts or simply explode using traditional calligraphy brushes or non-traditional brushes with super-long bristles. When I paint on plywood panels I build hardwood float frames. When I paint on canvas, it is loose canvas, and when the painting is finished I build the wooden frame and stretch the canvas.
Artist Recognition
Handpicked to show at The Other Art Fair presented by Saatchi Art in Dallas, Dallas, Dallas, Dallas, Dallas, Dallas
Artist featured by Saatchi Art in a collection
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