atmospheric studies

This collection of work represents an ongoing artistic evolution shaped and distilled by the observation of light and color. For a decade, the foundational studies of traditional still-life have opened the door for a departure from the rendition of an actual object; the artists is now exploring how the eye can create a composite understanding of nuances of depth and atmosphere through the substance of paint.

These new paintings start to take on aspects of sculpture. The veils of color stack up like building blocks, creating more depth and atmosphere with each subsequent layer. Light itself becomes something tangible and substantial, a quantifiable material that can be isolated, studied and captured.

How, like the human condition, these transient elements of the shortcomings of human vision are seen as inconsistencies that float weightlessly in the sunlight, like the glare that flashes through the lens of our eye when the sun hits our faces at a certain angle. As we turn, we can barely catch those fleeting flashes of color that are lost and found as transient and fugitive revelations of an unconscious understanding of the spectrum of the light that surrounds us. The afterimages left on the retina become composite elements to the fields of color that hang in space, in the atmosphere, and even in the hanging dust of the afternoon. It’s an odd science of exploration, to peel away the layers of perception to examine the different colors that build up to create these studies of atmosphere. The focus becomes an exploration of the most basic elements of how human vision understands and interprets light and color.

The harsh and simple honesty of observation becomes the foundation of a mechanical formula of execution. What once felt random and loose quickly becomes very controlled and meticulous as the complexity of the surface builds up, creating a carefully woven tapestry of light and color. Layered complementary colors invite the viewer to visualize the triangles of primary colors twisting and turning one way around the color wheel and back again to result in the varying hues and intensities. Two analogous colors would be cancelled out by the complementary color of their sum, blue and green would be crossed by orange and pink, blue and violet would be crossed by yellow and orange, around and around.

As the artist loses his own acknowledgement of the corporeal through this process, the viewer’s own inclination shall also be to find their own path into the paintings.

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David Oleski

telephone 610-486-6393

davidoleski@gmail.com