Painterly reliefs

My intention of this show is to illustrate the physical and optical tension between the actual object and the implied surface of these reliefs. Although the images deal with biomorphic shapes, they have no direct link with nature. They are, however, meant to resemble a semaphore apparatus, each signaling whimsical, enigmatic messages. An antithesis is created by employing loosely applied color over highly formal curvilinear three dimension forms. This opposition is emphasized by the totally mechanical way in which the structures are fabricated. (All of the figures where prepaired and painted using the same process. The raw metal was precoated with a clear lacquer to build a surface to which acrylic paint would adhere with permanence. After the acrylic painting was completed, an overcoat of lacquer was applied to protect and create the desired surface finish.) I believe this seemingly dissonant synthesis ereates a viseral ruckus that works to control the balance between an overly austere content, or to the other extreme, an excess amount of decoration. It has been stated, "Content justifies art's existence, style (mode) defines it, therefore content merely fills the void. Style gives content the capacity to absorb us, to move us, it is style that makes us care."* I believe that all (lasting) art has commonalities pertaining to equal regard given to both components, content and style. One cannot exist successfully without the other.