Poems of geometry and Trees.
30 April – 02 June 2016
GEOMETRIC AND TREE PORTFOLIOS
The way our brian registers colors, movement and spatial relationship is at the heart of my work. In this exhibition this applies to both the Geometric and “Tree” works. Our aesthetic instincts are engaged in a similar manner whether we view a “designed object”, or a tree. In both cases we depend not only upon our sense of the uniqueness or beauty of the subject, but also upon the way in which we experience the design of the space within its framing affect our internal aesthetic judgements.
In exploring varying ideas that interest me over the years, my work began to move slowly from complex layering of texture, shape, transparency, etc., toward minimal, formal simplicity. I realized in retrospect that this was happening at a time of my recent tendency to no longer accumulate items in my home from my travels, and to more regularly discard books and clothes and decorative items, and to pare down that which I no longer need in my everyday life. It became apparent to me that this simplification was an idea that I was extending to my art as well.
In order to satisfy my newfound preference for a clear statement in my work, I realized the need to submit each image-idea to a process of purification, and to remove everything that was not essential to the specific expression of the composition. The Modernist/Minimalist concepts seemed to fit this sensibility. I went further in setting restrictions in the series I am now exhibiting. My “Geometric” works here are the same size, and the proportion is square. The works contain only straight lines and angles, (which have either dynamic intersections or more benign relationships with one another). I use minimal colors and textures, and, as “geometric distillations”, these are the most efficiently organized ways I could apply to bring the work to its completion.
Step #1. For the past few years I’ve been engaged in photographing specific images of trees in the northeast US at a specific 2 /3 week October / November time frame, as well as in various locales (including Italy, France and Mexico) when certain seasonal conditions apply. Obviously, trees are incredible natural translations / expressions of what we were taught in art school, as the ‘Elements & Principles’; containing Form, Line, Texture, Pattern, Color, Dynamic balance, etc. However, I refined my portfolio of images to 1) massive or particularly graceful trunks, set at aggressive angles. 2) interestingly serendipitous directions of branches, and their delicate graceful lines. 3) clear, unimpeded backgrounds, 4) in conditions where a few leaves or color patches are remaining. The resulting photographs reflect a specific aesthetic which I am seeking to explore.
Step #2. I then select from among images of my completed paintings and prints in my library, those specific ones which I think can be interestingly and appropriately” married” with specific tree images, as one would do when creating different plates for printmaking. These will merge, by digital overprinting with archival pigment inks, printed onto all rag fine art paper, resulting in a dynamic and expressive, colorful single image.
Step #3. Using inks, pencils or acrylics, I hand paint added details to complete the work.
Title Poems of Geometry and Trees. Yale Epstein
Location AICA | Andrea Ingenito Contemporary Art | Via Le Botteghe 56, Capri
Date 30 April – 02 June 2016
Opening hours from Tuesday to Sunday, h. 6.00 – 10.30 p.m.
Info 348.6003820 | firstname.lastname@example.org | www.ai-ca.com