David Hollowell (1951 - )


In all of my work I constantly think and re-examine my ideas about the nature of painting and the kind of space I can develop on the flat picture plane. I know I am interested in illusion, as all painters are, but only to get the viewer inside the piece. I take advantage of any type of visual device that will make the images look inviting. It is my intention to develop the form in such a way that it becomes invisible to all but the educated artist (or to those who spend extended time with the images). As with all art, time invested in looking at and analyzing the work will enable the viewer to develop a deeper understanding of the layers of meaning.

I do not work from a narrative. The paintings are generated from an imagined space or architectural design. I then proceed by populating this space with a variety of characters that, for me, seem right for one another. The works reveal my process: I am working out my thoughts on several different types of picture frames; that is to say, the outermost edge of the image. Sometimes they remain rectilinear, but at other times they become a shaped piece. I often question the nature of the painting as a created object. What happens if one takes away the accepted rectangular format and puts the image in relationship to the wall in such a way that the wall interacts with the image differently than just being a place to hang the image? There can be an interaction of both real shadows and painted shadows. The viewer is confronted with a painting that exists on slightly different terms than if it did not interact with the real negative space. This kind of thing keeps me intrigued and always looking. I don’t believe I’m asking questions that have never before been asked, but the questions are important to me personally. If I can somehow put a little of myself into my work then the work will be original, since I have never existed before, at least not in my present state.

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