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"textures, structures, layers,
and distorted spaces"

(a digital tour of my senior thesis show)
[yeah, the lighting sucks on most of the pieces, but that's what i had to work with]

my artist statement for the recent paintings:

My paintings start with simple line drawings, which reflect the modern, geometric architecture of our cities and work spaces where efficiency and cost effectiveness overpowers any sense of inspiration or personality. I deconstruct the forms in the drawings so that they retain some recognizibility, but begin to feel foreign and distant. The process of applying paint to the composition revolves around developing surface texture and elevating the painting from a 2-dimensional design to more of a 3-dimensional object. The brush and knife marks range from expressive, fluid movements moving the eye through the space to hard edged, structural marks meant to define that space.

The main attraction for me to painting is that while working through these compositions, I have a chance to explore in my head and on the surface theories and concepts that attempt to explain our lives. As I'm throwing paint onto a work in progress, I'm thinking about how the theory of Emergence tries to show that even the most chaotic, complex systems can develop their own sense of order. I'm contemplating String Theory when I'm letting my brushstrokes merge between objects, reflecting its idea that tiny, vibrating strings of energy connect all matter at its basest level.

Hopefully the final results resemble Rorschach tests or fluffy clouds, in that they have enough elements to support each individual's interpretations, rather than just being a vehicle for my singular ideas.

the table from my studio space that i used
to put my paper, comment book
and announcment cards on

that's my artist statement above the table

acrylic/modeling paste/latex/watercolor/graphite/oil pencils on masonite
4' x 6'

wide shot with KOI and
3 (blue)
latex/acrylic/enamel on fiber board
4'1" x 2'

angled shot of PLEXI 1,2,3

PLEXI 1,2,3
acrylic/latex/enamel/ink on acrylic sheeting
1'6" x 2', 12/2003
2' x 1'6", 12/2003
1'6" x 1'6", 02/2004

corner of the gallery with
PLEXI 2,3 and 2 (cubicle right)

2 (cubicle right)
acrylic/latex/oil pencils/watercolor on particle board
4' x 2'8"

wide shot of 2 (cubicle right)
4 (red)
latex/acrylic/enamel on fiber board
4'1" x 2'
and 1 (cubicle left)

1 (cubicle left)
acrylic/watercolor/latex/oil pencils/canvas on particle board
2'8" x 4'

acrylic/enamel/ink on acrylic sheeting
2' x 3'

angled shot of PLEXI 4,
with the gallery reflected behind it

"If you're bored with a thing, do it again. If you are still bored with it,
do it again...and again, until you're not bored with it."

-- John Cage

"I seem to have to do it elaborately wrong and with many conceits first.
Then maybe I can attack and deflate my pomposity
and arrive at something straight and simple."

-- Richard Diebenkorn

"My work is not accidental, and it is not planned."

-- Hans Hofmann

some influential artists:

(with suggested reading next to select people)

David Carson, 2nd Sight: Grafik Design After the End of Print with Lewis Blackwell, 1997, St. Martin's Press

Richard Diebenkorn, The Art of Richard Diebenkorn by Jane Livingston, 1997, Whitney Museum of Art

Andreas Gursky, Andreas Gursky by Peter Galassi, 2001, The Museum of Modern Art, New York

Christopher Herren

Hans Hofmann, Hans Hofmann by Helmut Friedel and Tina Dickey, 1998, Hudson Hills Press

David Mack, Kabuki: Metamorphosis, 2000, Image Comics

Dave McKean, Pictures That Tick, 2001, Allen Spiegel Fine Arts

Paul Pope, 100%, 2003, Vertigo/DC Comics

Ashley Wood

further reading:

The Basic Writings of C.G. Jung, edited by Violet S. de Laszlo, 1990, Princeton/Bollingen Press

Concerning the Spiritual in Art by Wassily Kandinsky, 1977, Dover Press

Emergence: The Connected Lives of Ants, Brains, Cities, and Software by Steven Johnson, 2001, Touchstone Press,

Hyperspace by Michio Kaku, 1994, Oxford University Press,

all content [except the quotes] © Erik Leffingwell