My paintings are a result of a mainly intuitive process that evolves out of the combination of shape, color, and texture and originates form personal ideologies involving health phobias and religious beliefs. The imagery in the paintings is of biological origin, cells that fill up with matter, dense spheres that recall cancerous build up, the compositions and colors are inspired by Italian Renaissance paintings. The tangible is inserted into the realm of the ethereal.

Many of the paintings’ aspects are physical. The drips, scrapes, and clumps of paint relate to the viewer on a basic level. The corporeal elements are surrounded by an expansive space with sharp divides, which reveal to the viewer, as religious paintings often do, the mortal and the divine inhabiting the same space. I build my paintings on such contradictions. Prominent hand-controlled brushstrokes sit on top of transfers that do not reveal any touch of the hand. Thick layers of paint lie alongside thin wash areas. Visually flat space juxtaposes illusionistic space.

My Roman Catholic background and interest in Italian Renaissance painting form a conceptual backdrop for my work. Within this framework, I give emphasis to the process of combining, arranging, and manipulating paint. Circles created by line are drawn using a hand made stencil whose edges have become imperfect through the slow build up of dried paint over many years of use. The layering and repetition of small dots and marks reference microscopic units within seemingly limitless and non-distinct background space. So conscious action and subconscious ideological input interact to form a geometric abstraction. Divergent information coalesces into an intuitively generated visual communication statement.
 

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