Downtown Calgary, circa. 2003

Downtown Calgary, circa. 2003

6,000.00

Dimensions: 9x3x4'
Media: Oil on Curved Panel

This painting was a project that took over a month in the spring to complete, not including the time it took to build the cradle itself. The painting is a flat image that is basically projected onto the surface of a curved panel, to give the illusion of a two-dimensional painting on a three dimensional surface. The surface adapts as you view perpendicular to a tangent on the circumference, to give you a sense of the space you are viewing, as the periphery changes depending on your angle of view.

The concept is attempts to inspire space within two dimensions, to give the viewer an idea of the space and have their vision conform to the surface curvature. The application of paint is hard-edged and abstract, albeit painterly to shift between an organic dialogue and a photographic realism. The palette was extracted directly from a photograph, creating a link between photography and painting. The link is of a Baudelairian dualistic nature: the instance of the photographic nature of the painting immortalizes the subject matter, but also opens the painting up to the vulnerability of transience as the subjects were once transient in front of the lens.

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Downtown Calgary, circa. 2003

This painting was a project that took over a month in the spring to complete, not including the time it took to build the cradle itself. The painting is a flat image that is basically projected onto the surface of a curved panel, to give the illusion of a two-dimensional painting on a three dimensional surface. The surface adapts as you view perpendicular to a tangent on the circumference, to give you a sense of the space you are viewing, as the periphery changes depending on your angle of view.

The concept is attempts to inspire space within two dimensions, to give the viewer an idea of the space and have their vision conform to the surface curvature. The application of paint is hard-edged and abstract, albeit painterly to shift between an organic dialogue and a photographic realism. The palette was extracted directly from a photograph, creating a link between photography and painting. The link is of a Baudelairian dualistic nature: the instance of the photographic nature of the painting immortalizes the subject matter, but also opens the painting up to the vulnerability of transience as the subjects were once transient in front of the lens.