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Bad Painting 159: The bouncers have been told to keep these two black men out of the club as they have reached their black customer quota. They are sc Print

Jay Rechsteiner

United Kingdom

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About The Artwork

This painting is based on a personal experience at a very trendy and popular pub in London. It is part of Bad Painting BAD PAINTING is a series of paintings that I categorize as Bad Realism which is work that is not only bad in terms of style & craftsmanship but most importantly in terms of content. The badly executed paintings represent the underlying bad reality of the actions depicted, i.e. the paintings are as bad as the world they depict. The paintings are based on true events. The work challenges the Western sense of beauty, perfectionism and fear of failure. I personally find making this work very liberating as I am not restricted in terms of how well I paint. Rooms are distorted, bodies are out of proportion, shadows fall into the wrong direction etc. Although I don't consider my paintings to belong to the popular genre of Bad Painting, I have always been fascinated by the freedom of 'bad' painters such as Joan Brown or Neil Jenney. I use the term Bad Painting as the title of this specific series of work. 'Badly' painting doesn't only set me free from the constraints of 'good' & 'decent' technique but also gives me a feeling of everything-goes/everything-is-fine. There are obviously a lot of people who don't like this series, not only because of the way they are painted but also due to the themes and subject matters. During the process of working on this series (since 2013) I have come to terms with the unpopularity of the work and now I simply don't care if people love, like, dislike or even hate my paintings.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:12 W x 9 H x 0.1 D in

Size with Frame:17.25 W x 14.25 H x 1.2 D in

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My work is very versatile, in general process-based and sits at the intersection of different practices. However, I enjoy painting the most as it not only allows me to express my ideas most directly but it is also a great tool to explore and develop ideas. My painting work investigates pictorial composition and aesthetics with a focus on the notion of the concrete and the abstract, clash, balance, anarchy & the dialogue between opposites. My work is very versatile, in general process-based and sits at the intersection of different practices. An essential aspect of process is the element of change including new directions and abandonment (of work) which gives my work a seemingly peripatetic character. The quality of my work is not so much within the single pieces of work but rather in my overall approach and understanding. One of my principle interests lies in social constructionism, the analysis and documentation of (cultural, social) heritage, i.e. the (social, political, cultural and historical) makeup of people. Whether it manifests itself in the form of a drawing, a collage, a painting, an installation, an action or any other medium, my work is never so much about the discrete unit of work but rather the work as a part of the gesamtkunstwerk, the gesamt-story. My understanding of the gesamtkunstwerk in its truest sense is the entirety of my work as a cohesive body. It is very important to me that my work represents myself, my way of thinking and my opinions. Staying true to myself and having integrity is a very important aspect of my practice. I don't produce art for the masses, nor have I any desire to ride on the band wagon of current trends in the contemporary art world. I am currently working on a painting series titled Delphine & Jay: the Concrete & the Abstract. These are process-based works on canvas & paper. The work explores as the title suggests concrete and abstract ideas/concept focusing on clash, balance, anarchy & the dialogue between opposites.

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