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02/01/09 |
           
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Wes Bogner
I am an artist and painter recently relocated to SW Oregon from the Big Island of Hawaii. I now divide my time between the Islands and the Pacific Northwest. While trained in traditional visual arts media; [Lithography, Serigraphy, Intaglio & Painting], I experimented wildly in the past with various materials in both 2- and 3-D works. I continue a mixed-media approach to my work, incorporating new digital techniques with traditional painting methods. I often use a photograph as a starting point or source of inspiration, applying color and diffusing detail to create an impressionistic abstract reality. Manipulating the image with a variety of common artist media such as pens, erasers, colored pencils pastels and paint, I continue to push accepted boundaries by scanning and rescanning successive image states, each step a potential new direction. This process allows great flexibility to explore alternatives without fear of mistakes, loss or destruction of the original by overworking the media. In this way I explore my limits of imagination and aesthetics using every tool at hand. After 22 years in Hawaii my art has been geographically specific to the islands, I am currently refocusing my subject matter to include NorthWest landscapes, seascapes and my current favorite; riverscapes.
I chose to focus a painting series on the Petroglyphs of Hawai'i in response to their primitive simplicity and their oblique mystery. Original size, spatial contexts, and colorful lava surfaces make certain groupings of individuals visually iconographic. I have created several hundred works inspired by these ancient images. Using data recovered from in-field expeditions such as measurements, photographs and sketches as reference material, I attempt 'portraits' by embedding pigments in multiple layers of acrylic emulsion, slowly building the image with color and iridescent accents supported on hardboard panels. The end result of multiple acrylic layers is an illusion of back-painted glass or polished stone. The luminosity of my painted artwork is difficult to fully communicate with photography. Deciding to free myself of the constructionist restraints of paneled supports I first establish my composition on canvas using the new giclee printing technology and then float additional layers of color and emulsion to create surface depth without exceeding the weight restrictions of canvas.
I now apply my knowledge of commercially available coatings, composition, light and color interaction to interior spaces. The Color Doctor
The challenge of creating an environment both restful and invigorating for the inhabitants is a primary concern. Using earth-tones and simple guides in response to client lifestyles helps design a harmonic space for interior activity. Adding texture and organic patterns can enhance the quality of ambient light.
White interiors are the choice of production contractors who know that because almost all light is reflected from a white surface that many imperfections will be hidden until an attempt is made to introduce color. Even light mid-range tones can illuminate sloppy finish work. Fear of color may be a hangover of missionary origin or perhaps just fashion- economics as white is the most inexpensive paint regardless of finish. Changing to color often means thinking about many other seemingly unrelated issues.
I like to add spectral dimension to plain interior spaces. Employing texture or contrasting finishes without colors can also enhance aesthetic qualities, creating feelings of intimacy and still conceal past repairs. I am available on a Time and Materials basis. Color consultation and references available upon request. See samples of my interior painting.
SCHAEFER Portrait Challenge 2006 furrythrottle@yahoo.com |
This site was last updated 02/01/09
