Non-objective art

As you know, I love visual abstraction.  “Abstract” art may reflect something actually seen – but abstracted to heighten the impact.  Impressionist paintings are great examples of this, as are Expressionist paintings.  Further back in time, Mannerist painting elongated limbs and exaggerated human gestures, to heighten the drama of scenes that the viewer can interpret from their own experiences. 

One extreme of abstraction is often called “non-objective,” because it contains no reference to actual objects.  This is discomforting for some viewers, who want to relate a painting to something familiar or even to some thing imagined.  However, it gives the mind totally free rein to interpret meanings or to revel in the visual stimulation without meanings.  Non-objective pieces are “ever green” – always fresh for the viewer, who can see something different at each viewing.

Automaton (https://www.jwharrington.com/other-abstractions/automaton) is such a piece, presenting bold colors against a white background.  (Against white, even black appears as a bold color.)  I painted this as flat as possible, using acrylic gouache, to provide no texture – just color and shape.

Cusp (https://www.jwharrington.com/other-abstractions) is a new favorite of mine, because it uses a mix of pigments (Cobalt Blue and Ultramarine Blue) to yield a blue so “deep” I feel I can swim in it.  To heighten the contrast, I’ve surrounded the blue (graded from pale to deep) with white.  And what role does that bright red circle (or sphere?) play in the composition?

Color Abstraction 30 (https://www.jwharrington.com/color-abstractions) continues the series I’ve been working on for years:  each painting is 24” x 24”, with strictly straight lines or shapes on a solid background.  Here we have interlaced rectangles in white, Cobalt Blue, and a rich, ruddy brown.  I’ve created several interpretations of this composition, and have placed it in the entry of our house, where I can create new interpretations every time I come home.  (I only wish that others could visit and see it – it could be a great conversation piece.)

The Path

I’ve enjoyed the feedback I’ve gotten on The Path. It’s meant to be somewhat enigmatic — in the placement and intent of the “narrator” (who’s on the path? are they on it or above it?); in the nature of the black void on the right; and the ultimate destination of this solitary path. A fellow artist said she sees the texture within the path itself as a reflection — or maybe even an on-the-ground manifestation — of the stars in the sky above. I love that.

Abstraction

As a viewer, abstraction appeals to me because of the authority it gives me to determine what I’m seeing and what it brings to mind and heart.  Abstract expressionism can be defined in many ways, but most simply, “abstract” visual art doesn’t represent any single set of physical objects, and “expressionist” painting uses color, form, texture, and their juxtaposition (composition) to evoke conscious or not-quite-conscious feelings in the viewer.  The work is what it is – not a mountain, vase, or person – but for me, it can be at least as powerful as painted images of such objects.