Picture of "Khez" Colorized Years of making unknown It shows a depressed skeleton

Result #1

Picture of "Khez" Colorized Years of making unknown It shows a depressed skeleton Aviatypes paint is on a dry dry wood surface. The tone is dark, morose, almost Gothic. A darkening is the result of the by-products of the drying process. Dry wood is a hazardous material, especially when applied to canvas, and when heated it can be explosive. Color is another matter, as one might expect from work of the past twenty years. In the paintings, the color of the dry wood is taken from the dark sides and back, where it has been stored or applied. In the present work, the color is generated from the painting surface, and a thick grayish surface is created by the drying process. This grayening is accentuated by the painting surface and the grayly applied color. This process is an aid in the creation of the colors of the finished picture. The painted black or gray is perceived as black. The painting surface is also perceived as black in the work. The paintings are simple, but the works themselves are complex and vast.The black and gray in the present work are simple, but the entire process of making them is a vast endeavor. This massive effort is the reason for the continuous development of the painting process. In the painting process, the color of the wood, as a by-product of the drying process, is added to the gray ground. The black is then painted and applied to the canvas, over a matte ground. The process of adding pigment and the painting process are also not unrelated. The painting process is a means of controlling the results, which are determined by the way the artist has worked. The colors of the finished picture can be seen by a digital camera, but the digital process is accelerated and impetuous.A large number of large canvases are exhibited in this show, and the works are on display. The mediums are natural, but in no sense original. The use of color, in particular, is atypical.

Result #2

Although shown as a body part, a head wouldnt look much different in a plastic graveyard paintjob. Even if the head were a jagged, blue-black skull, all the colors would look even less greenish than they would in the paint. Both are denser, darker, and crazier than usual. If the head is the sort of object one makes when confronted with a dilemma, the head is a mess, a mess made of dross. With its needles for its eye sockets, and its tuft of hair, the head of a plastic skeleton might as well have been a styrofoam bowl. The head looks like a turd stuck on an old eggshell.The plastic heads for both paintings and sculptures are dead, like the rest of the bodies and bones in the show. At the same time, however, they are alive and capable of the most remarkable and significant miracles. The head, for instance, can be filled with secret, imaginary thoughts that will propel it to the next level. This is especially true for the head of an unloved doll, a woman with no memory of her life, a doll whose soul is missing. The head can be turned into a chicken, and if the head is something more than an expression of fear, it is because the body is dead. This brings us to the very heart of the subject of the exhibition.This head, a plastic one, has a face which is both empathetic and expressive. Its eyes and mouth are expressive of emotions. I love how the head of the headless woman in the open canvas in Untitled (Head) (all works 1990), is drawn with a mirror, as though it were a reflection of the viewer. The face is expressive, a doll who has a soul, a face that is alive and alive and alive again.

Result #3

Picture of "Khez" Colorized Years of making unknown It shows a depressed skeleton Whoever makes a statement is doomed. These words can be used in the same way as a sign, but it is only in the most abstract of abstractions, painting, that they reach their most expressive. This was the theme of the show at the Gallery Museum, also entitled The Problems of Painting: A Report on a Meeting to Consider a Selection of Painting Problems. The paintings on view were taken from a list of problems and had been painted in order of appearance. The exhibition was organized on the basis of this criteria, and it was the visual results of this organization which were the subject of the exhibition. The issues involved in the painting of painting are not ones to which an abstract painter like Marisolme or John Altoon can be indifferent, for abstract painters are in effect a product of the mind. The difficulty with abstract painting is that it is a process which is never finished and which cannot be stopped. The abstract painter must continue until he creates a work of art. What he achieves with this labor is what he has achieved with it: a product of the mind, a product of pure concentration.This exhibition was a kind of study of the whole experience of painting. The artists who make the paintings were given the opportunity to reflect on the position and goal of painting. This kind of study is important for two reasons: first, it shows how much painting remains to be done; second, it shows how much the problem of painting itself still remains unanswered. It is worth noting that the exhibition was not presented in a single building; it was given to each individual artist in the United States who has studied painting. So no one man could have presented a show which did not include paintings from the general population, although in a few cases he did mention an individual artist. The exhibition was also not considered in any single museum. The goal of the exhibition was to consider the whole of the problem of painting, which is not just a problem of simple complexity.

Result #4

Picture of "Khez" Colorized Years of making unknown It shows a depressed skeleton Owners individual adipose criteries create a state of solitary concep­ture. We feel entitled to see and to believe in these subjects. This se­cure of colorization may not be the most radical part of Duttons oeuvre, but its presi­dence here is prodigious. Every page is a painting, and the artist has painted the same piece a hundred times, over a decade, many times, in different mediums. A painting is a dream, Duttons paintings are built to survive a century. We dont live in the here and now, nor do we look to the future with a critical eye. Duttons motifs are permanent, even miraculous. The level of fine­ness and sheer beauty of this exhibition gives it an air of authenticity that is in tension with its atmosphere of authority. In this work, Duttons development is either a perennial field of development or an inexhaustible horizon of desire.At the heart of every painting is a personal story, a story of the personal. That story is based on an underlying message, a message not only in the form of an image, but in the form of a book. And in The Way People Love, 1984, Duttons first book, the artist reveals the inner, private, and personal poetry of the heart, the soul. In many ways, the heart is the most precious, and precious the most precious of things. The heart represents the first step of the intellectual, because it is the fountainhead of the soul. Duttons symbols and his language are based on the scientific, on the scientific, which gives rise to the most powerful and profound emotions and images. There is nothing in Duttons work that does not appear to be based on the most profound emotions, especially love. The heart is the center of the mind and the soul, the place where the mind meets the soul, the place where the mind meets the soul.

Result #5

Picture of "Khez" Colorized Years of making unknown It shows a depressed skeleton In the years since, certain concepts of the body have come into vogue. Websites have become full of image-free sites where, in a single stroke, we can give in to an overwhelming feeling of appreciation of bodies themselves. But there are a few, by now, who wouldnt mind, even in such a world, if this body of work did not become an ongoing painting, a collection of small, beautifully drawn pictures, a gallery of staccato things, and so on. (I say paintings, of course, not paintings on canvas, but those are special.) And so they try to get into painting, and only half succeed. They attempt to find a way to make their work happen, to get it from the pictures. And only half succeed. Some of them have enough cash, and for the most part they succeed. Yet the most important part of the work is the paint, and the color. Each of them uses white paint, though they tend to use a golden yellow. It is a rich color, a kind of golden red. Black, once upon a time, had this hue. Before then, it was often so thick it was almost smooth. Some were so thin it would not look right. And sometimes, at the very beginning, they would be so cold that you couldnt see anything in them at all.Now that the work has gone on for more than ten years, it is time for a new approach. I always liked it, but then it made me feel like I was looking at some sort of photograph of a body that had been painted over and then peeled off. That body has vanished. It is not a flesh-and-blood body, but an airless, almost dead one. The paint is dust. The paint is like a cover. In a sense, it is a mystery, the mystery of death.