Jeffrey G. Batchelor作品欣赏,想象力是他绘画的核心
The Imprisonment of
Andromeda 仙女座的徒刑
Oil on Canvas, 1993
Dimensions: 48" X 72"
《时间的脚步》
《Mermaid》Oil on Shaped Canvas Panel, 2000 ,Dimensions:
66" X 72"
An Educated Guess ,Oil on Canvas,
2011 ,Dimensions: 24" X 30"
|
|
Hidden Agenda Oil on Canvas,
2009 Dimensions: 50" X 40" |
|
《Interruption》 Oil on Canvas,
2005 ,Dimensions: 25" X 19"
Lily
Oil on Shaped Canvas Panel,
2001
Dimensions: 84" X 60"
Insomnia II
Oil on Canvas,
1995
Dimensions: 36" X 48"
The Temptation of
Pandora
Oil on Canvas, 1994
Dimensions: 60" X 48"
Ponies and Paintbrushes
Oil
on Canvas, 2010
Dimensions: 30" X 24"
《Ascension》 Oil on Canvas, 1996 Dimensions: 13" X 10"
《Rain 2》
Oil on
Canvas, 2012
Dimensions: 40" X 40"
Seeds of Enchantment
Oil on Canvas,
1994
Dimensions: 72" X 48"
Knight
Watch
Masquerade
Oil on
Canvas, 1996
Dimensions: 48" X 72"
Sketches on the Theme of
Icarus
Mixed Media on Panel, 2009
Dimensions: 24" X 36"
Spring 春
Oil on Canvas,
2007
Dimensions: 72" X 48"
Summer |
Oil on Canvas, 2007 |
Dimensions: 72" X
48" |
Summer 夏
Oil on
Canvas, 2007
Dimensions: 72" X 48"
Autumn 秋
Oil on Canvas,
2007
Dimensions: 72" X 48"
Autumn |
Oil on Canvas, 2007 |
Dimensions: 72" X
48" |
Winter 冬
Oil on Canvas,
2007
Dimensions: 72" X 48"
Winter |
Oil on Canvas, 2007 |
Dimensions: 72" X
48" |
《
Fortune Teller》 Oil on Shaped
Canvas Panel, 2004 ,Dimensions: 38" X 24"
The Girl in the Window
Mixed Media on Panel, 2004
Dimensions: 69" X 48"
This is yet another painting inspired by the most
famous painting in the world and perhaps the most influential artist of all
time... "Mona Lisa" by Leonardo da Vinci. It is my hope that the viewer will
forgive the pretentiousness of using such a masterpiece and appreciate my unique
vision and execution.
The setting came from a trip to Florence, Italy,
and a street I walked down where I found this splendid crest with a fragmented
sign under it. In true Italian tradition, the sign had actually been painted
over, and shows the relief and bleeding through of the other words. The words
beneath (I think the first is "galleria") lead me to believe that this may have
been an art gallery. Serendipitously, the fragmented word remaining was "elle,"
the French word for "she." The plaster was breaking away from underneath, and I
loved the mixture of such grandeur beside neglect and decline. I created a
window and a tile floor that could have been either indoors or outdoors, its
placement being somewhat ambiguous. Here is the window where I saw "the
girl."
I put paper fragments taped to the wall behind a
Beaux Arts architectural drawing. I love the evidences of things once present
but now gone, because the elements they leave behind are much like the way we
humans collect our intellect, laying one thing over another, building a collage
of emotions and imagery for which details often fade into oblivion. The sign is
a perfect realization of this concept. There is another drawing of hands, taken
from a book of Leonardo's work. The two drawings indicate the process of forming
and conceptualizing a work in progress, showing measurements and positions
as individual pieces are developed. Crossing the upper portion of the window -
which is barely visible - is a horizontal landscape loosely modeled after
Leonardo's landscapes. It provides a scenic vista as an option in which a
subject may be placed.
On the ledge of the window is a still life
composed of two wooden artist's model hands and a carefully draped black cloth
very loosely resembling clothing. The hands are posed as closely to the position
of Mona's as possible. Whimsically, the trappings of the artist are strewn about
the floor beneath the window, as well as one brush jutting out from under the
hands. I included the box for the hands as an extra clue to help the viewer
realize that this is an artist's means of putting his ideas
together.
The tape is the most "magical" element of the
painting. The tape roll floats off of the floor, and the taped-out rectangle
hovers in mid-air, roughly framing the proportions of the "Mona Lisa." The
drawings and the landscape all are suspended without aid of any holding devices,
but the face of "Mona" most dramatically "floats" in the appropriate
place.
"The Girl in the Window" is a visual depiction of
the artist's thought processes as he conceives, conceptualizes, and configures
his work. All of the elements conform to a single vision, drawn from the
artist's abilities and experience. This painting shows that the real magic of
all art is the mind that puts it all together.
《Grains of Sand》 Oil
on Shaped Canvas Panel, 1998 ,Dimensions: 54" X 84"
Second Sight
Oil
on Canvas, 1994
Dimensions: 48" X 60"
《Chasing Checkmate》 Oil on
Canvas, 1997 ,Dimensions: 48" X 60"
Deus Ex Machina
Oil
on Shaped Canvas Panel, 1997
Dimensions: 60" X 69"
《Blue Surrender》 ,Oil on
Shaped Canvas Panel, 1999 ,Dimensions: 60" X 76"
《Icarus》 Oil on Panel, 2005 ,Dimensions: 36" X 24"
The Imprisonment of Andromeda 仙女座的徒刑
Oil on Canvas, 1993
Dimensions: 48" X 72"
Greek Mythology claims that Andromeda was chained to a rocky island
to be devoured by a sea monster. Her father, the king of Ethiopia, did this to
save his realm from the wrath of Poseidon. Using this myth as inspiration, I've
placed the figure in a place of illusion, "imprisoned" from the beach where she
wishes she could be. What appears to be a beach with a vivid blue sea is in fact
only a torn poster, although the bottom edge merges into an actual shelf with
seashells. Her actual environment is bare dirt ground by what appears to be a
paint-pealing building that has a window with metal shades. A stack of books
sits by the "window" overlapping onto the ledge. These books represent another
form of exile, a life within one's imagination that is removed from true
reality. A dried rose sits on one book and another is taped to a wall. These are
symbols of a once flourishing beauty that has gone away, leaving only their
essence and a memory of what they used to be. Such was to be the fate of
Andromeda. A Da Vinci drawing is taped to the wall; it's spiraling braids are
reminiscent of a snake, or a sea monster. A photo taped next to the drawing
shows the same woman seated on the ground actually moving into the waves. This
is a symbol of her desire to reach the ocean she dreams of. As a twist of
irreverence, the figure is smoking. I did this as a whimsical affront to the
idealistic image that the woman portrays, and because my model for this painting
smoked - why not? Finally, the butterfly inside the bubble is my tribute to my
friend Billy Hightower, a fellow artist. Billy died from complications due to
AIDS in 1992 when this painting was done. The butterfly represents the human
spirit, and its freedom comes only when it escapes the sphere we call
Earth.