MBTW

My goal for some compositions is to reduce or eliminate a distinction between “object” and “background.”  In those compositions I try to give black, gray, and white near-equal precedence, so that one does not appear to be painted “over” the other. 

Before working on the canvas, I sketch each composition – roughly at first, to develop the balance of forms and values that I want, and then in exact scale and value.  Each painting is thoroughly planned.  However, there is a “discovery” stage, when I study the finished painting in each of the four orientations afforded by the square canvas.  I select the final orientation based on its psychological and interpretive impact. 

I want to maximize the impact of each painting, but I don’t want to determine the nature of that impact.  That’s why I’ve given each painting a simple numerical title.  You’re welcome to develop your own, personal subtitle for each painting – I have!

Power to the viewer!

As a painter, I want to give you the power to see whatever images, symbols, or interactions you need to see in my compositions. 

This is why I decided to paint a set of 36” square canvases with a palette limited to black, white, and grays mixed from them.  Thus, the variables at play were value, shape, and the combination of shapes to form a composition.  From the beginning, I decided to limit my shapes to basic geometric forms:  square, rectangle, line (well, not true one-dimensional lines, which would be quite invisible), and circle.  This decision resulted from my 2020 reading and writing on Russian Suprematism as championed by Kazimir Malevich (1879-1935). 

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.)