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ABOUT THE ARTWORK
This body of work is an extension of the tradition that was advanced in the 1960s and 70s, variously known as hard-edge abstraction or colorfield painting (but at times identified as minimal, cool, post-painterly, etc.). That work was derived from earlier twentieth century non-figural abstraction classified as de Stijl, Neoplasticism, Russian Constructivism, Orphism, and late-Cubism. While I haven’t abandoned the easel and use paintbrushes, the surface is devoid of perceptible texture and traces of paint-handling, except for the slight ridges caused by the removed tape. Each work is on a cradled birchwood panel and should remain unframed. I use acrylic gouache (low-binder, non-reflective, absorbent color). Triangles, squares, rectangles, rhomboids, and trapeziums are arranged in autonomous, non-hierarchical patterns that structure the compositional field across the entire surface. My subject is color and line, and the energy that arises through the juxtapositions created by abrupt transitions between pattern areas. Patterns are used repeatedly across separate works, although not bound by color or scale. I think of each pattern as a block reminiscent of a batik tjap, or a syntactical unit such as a prepositional phrase or a subject and its predicate; thus the vocabulary of these works is comprised of fundamental, interchangeable, yet variable, units. Where a pattern is placed in relation to others in any given work, as well as variations in color and scale, offers infinite possibilities for structuring the surface. While clarity of design has been a frequent goal of geometric abstract artists, because I use up to three dozen patterns in any given work, the complexity multiplies exponentially. Geometric abstraction is an extension of the movement away from gestural, expressionist abstraction, a movement advanced by artists such as Barnett Newman, Kenneth Noland, Frank Stella, and Ellsworth Kelly, and to a less degree, Mark Rothko and Richard Diebenkorn. Several predecessors are important to me, particularly Victor Vasarely, Piet Modrian, Wassily Kandinsky, Paul Klee, Kasimir Malevich, and Islamic art in general. Among contemporary artists, I value the the paintings of Sarah Morris, Dion Johnson and John Matt and Bridget Riley.
Original Created:
2017
Subjects:
Materials:
DETAILS AND DIMENSIONS
Print:
Giclee on Canvas
Size:
16 W x 16 H x 1.25 D in
Size with Frame:
17.75 W x 17.75 H x 1.25 D in
Frame:
White
Canvas Wrap:
Black Canvas
Ready to Hang:
Yes
Packaging:
Ships in a Box
SHIPPING AND RETURNS
Delivery Time:
Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:
Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:
Printing facility in California.
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Gray Jacobik
United States
I was born in Newport News, Virginia, USA, and live and work in Deep River, Connecticut, I am a studio artist whose practice is focused on abstract work (expressive and geometric) in acrylic, oil, encaustic and gouache as well as realistic oil and acrylic paintings (still life and landscape). I paint on linen, aluminum, MDF and cradled basswood panels, usually, but not always, in a square format. I have been most influenced by the work of Richard Diebenkorn, Helen Frankenthaler, Joan Mitchell, and among contemporary painters, Emily Mason, Brian Rutenberg and Frank Bowling. Interpreting ideas abstractly excites my imagination, and my own excitement leads me to reason that what I paint might be of value to others. When I'm painting, I alter my gestures, colors, lines, overall composition, my rhythm, and my materials, in service of an aesthetic that's been evolving over a lifetime of visual experience. I have great admiration for the Flemish and Dutch painters of the 17th century and several contemporary artists who follow in those august footsteps, such as Hank Helmantel and Lorena Kloosterboer. "What constitutes integrity in a work of art?" is one question that guides my inquiry, as does my deepest-felt objective: to create works that are interesting and beautiful in equal measure. As I complete a work I continually stop and ask myself, is this truly interesting? is it beautiful? I'll leave the final assessment to others, since I don't think the answer is something I can know, but I do keep these questions uppermost in mind as a means of coaxing my work forward. I put my formal education to use (B.A. Goddard College, M.A. & Ph.D., Brandeis University) by teaching for several years as a Professor of Literature at Eastern Connecticut State University and in the MFA program at the University of Southern Maine. After a long career writing, teaching and publishing poetry, I work now as a full-time studio artist in a small New England village on the Connecticut River. On numerous occasions, I've exhibited my work in juried and in open group exhibits, and I've had three solo exhibits, two of those curated. My work has been shown throughout New England and in New York, and some of my paintings have been published along with my poems. During the period 2012 through 2016, my work has been featured as cover art on more than a dozen books and journals.
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