During the summer of 2011, after going to an art talk in Highland Park in LA while the Los Angeles Lakers were being decimated by the Dallas Mavericks, I decided that I would again put into play the knowledge I had acquired about how a painting was constructed. I had abandoned painting over 15 years ago while in grad school in Los Angeles, in favor of working with photography. One of the key motivating factors in my wanting to paint again was how much I now knew about the history of the medium – not merely of what the pictures looked like, but literally how they were made with a variety of techniques used to build the first layers from light to dark or from dark to light, followed by dozens if not 30 or forty layers of glazing as in a painting by Corot. One of the issues for me as well was seeing how many artists in LA and New York were making one layer paintings that were not visually satisfying. It was clear to be that the technique of making a painting all at once and in one day was not working for all too many artists. And it was obvious to me that many of the paintings I was looking at were made without realizing that the majesty of painting is achieved primarily through the layering of paint, as paint itself is a film, no different from a film get being used to create a certain kind of light in a film. So what I set out to do was to create Abstract Paintings using the techniques of Representation and Realism. Not surprisingly, the quality of the paint I was using produced visual effects that were far more compelling than had I tried to force the paint to behave in a certain way. I allowed for greatest chance events on the canvas, and limited my palate to a range of gray, black and white paints, as well as silver and gold from top grade artist paint companies. The first Nine Grayscale paintings were exhibited during the late summer in Los Angeles at the Beacon Arts Center. I prepared each canvas by layering each one with basic grayscale underpaint, then allowed them to air dry for well over a week. I then returned to each canvas and applied a layer of the finest white paint on the market, along with a mixture of painting medium, then again allowed as much as two weeks for this layer to dry, before attacking each canvas with a wide array of studio tools and brushes and rags to get the visual effects I wanted to make. After this I allowed each layer to again dry and then came in with brushes and the full range of my palate and more glazing medium, finally completing the Nine Grayscale paintings over a two month period. I documented the paintings at the different stages I’ve described here. For my second group of grayscale paintings I decided to go to 30×40 inch canvases, up from 20×24 inches, to see if the techniques I was using could be applied to those scales as well. One of these paintings has been left at the second stage – the white paint both covering and conveying the strong grayscale underpaint beneath. With my now also doing cutout collages again, prompted by my creating a new work for The Bearden Project, I am now working in painting, cutout collage, photography, photomontage, and soon will be posting video shorts from my upcoming trip to London.
feel free to contact me at: LANYArtiststudio@gmail.com
- Parked wreck, Los Angeles (2005) by Vincent Johnson
Vincent Johnson received his MFA from Art Center College of Design in 1997 and his BFA from the School of the Art Institute of Chicago in 1986. He is a 2005 Creative Capital Grantee, and was nominated for the Baum: An Emerging American Photographer’s Award in 2004 and for the New Museum of Contemporary Arts Aldrich Art Award in 2007 and for the Art Matters grant in 2008, and in 2009 nominated for Foundation for Contemporary Art Fellowship, Los Angeles. In 2010 he was named a United States Artists project artist. His work has been reviewed in ArtForum, The New York Times and the Los Angeles Times, Art in America, Art Slant and many other publications.