Block title

Work Samples

The Construction of Europe

This work was begun in Warsaw, with marker and acrylic, and I worked on its abstract underpainting throughout the rest of trip. I commenced with oil, upon my return to Baltimore, all in response to video clips I'd gathered in Budapest, Warsaw, Brussels, and Paris. Seen relative to my earlier work, it is a vehement fusion of my abstract and narrative interests.

« De la mémoire soviétique »

This is among the tidiest of my European montage-based videos. It has primarily to do with "Memento Park", more properly "Szoborpark", situated near Budapest, Hungary. This was a city I visited only briefly, and in which I did a lot of concentrated work, with limited time.

The Construction of Europe (and archival shot of the work in progress)

(This in-progress shot has to do with the interplay of time and impression in the conceptual development of the piece.)


About John

Baltimore City

I have produced art, consistently, since childhood. I found academic art education very rewarding, and have also greatly valued my years of post-academic creative production. Ranging in all manners of theory and content, I have always been prolific. I'm working on a grand sensibility which will unite my productions in all media.  All technical finitudes within all media are affecting my narrative process and all in conjunction with the "existentialism" involved. These are great months of both... more

Painting responsive to perspectival movement, inclusive of that drawn from video

Video, Montage, Gestalt

This has work has to do with the aggregation of my videographic work, over time. I put at least a sporadic emphasis on "montage", because I can't help it. The theory has been key, and inspiring, both in the context film history, per se, and in the context of my lifelong exposure to pop culture, not to mention the fact that a flood of impressions, evocative for formally and in terms of narrative, may be one key tool in our making artistic sense of . . . the complicated world.

The work having to do with foreign capitals foreign capitals is tidier, at least in some cases, and "succinct", resulting from limited days of concentrated artistic activity.

One sensibility carries through all the work. All of it has to do with loosely implied "narrative" in constant confluence with the phenomena of existential and technical process, over time, with painterly-optical considerations, along with those of narrative, being brought into videographic conception.

Meanwhile, I love film, as well as fiction, incidentally. Much of this montage, and these fragments, with an emphasis which per se optical, at least in part, may be joined with greater and more explicitly fleshed-out narrative

Montage, decoconstructed, re-assembled

This has to do with micro-analysis of select videographic passages, selected in simulatanesouly consideration both of the value of the stills in question, as such, and of the appreciated effect of their juxtaposition, in context, over time.

In at least one case, a video clip featurung a painting is included in a montage passage which is otherwise non-painterly.

Video stills drawn primarily from montage

This project is half-tangential, in that it has sprung from the priority placed on video itself.

However, it is key, as an indicator of filmic, or videographic, sensibility, and it gets thoroughly into the deep minutia inherent within the medium, and within all media, and the creative process, approached existentially.

In every selection, I am thinking of the interrelation between these media, fixations of sensibility and of technique, per se digital or otherwise.

Multi-Paradigmatic Painting : A Retrospective

I continue painting, though video is key, and I am currently digitizing all of my older analogue audio recording (largely for integration into video). "Multi-paradigmatic" is crucial to my entire outlook, in terms of any or all media. This idea is that any one artistically theoretical approach has its strengths, and possibly its weaknesses.

By revisiting works oveworks over time, in part, and more generally by being cognizant to multiple approaches, always, I hope to produce work that transcends the limitations of any one theoretical approach. Rather than rejecting content, for instance, in favor of any one approach to form, or optics, I would like to have all these assets at my disposal, reflected in my final results, though any one wave of activity may energetically emphasize one focus, or a few.

I hope, always, to flesh out this breadth, fairly flamboyantly, while retaining elegance that may be appreciated "simply".

Video clips sprung from post-digital microanalysis and from inclusion of earlier audio material

This project is designed to be seen in terms of my overall intermedia synthesis, though with a specific shift away from painting and away from the idea of video as a distinct and completed medium. It deconstructs the optical (as well as auditory) aspects of video, and includes older (musical) audio produced much earlier, as a separate venture and before synthesis became a conscious and constant priority.

Retrospective inclusive both of works on canvas & works on paper

This selection is meant, by way of a split media emphasis, to emphasize a manifold approach to imaging.

The graphite works also feature a more specific and focused approach to narrative.

Thinking about all of this, this project along with the others, and my overall emphasis on synthesis, I am wrestling between, and striving to unite, highly inspired approaches to medium, and theory, practice, and the sporadic role of narrative, of sensibility both explicit and implied.

John's Curated Collection

This artist has not yet created a curated collection.