Johnathan Daily Swedish-American , b. 1974
Valley (series Corporeal), 2012
oil on canvas
34 x 30 cm, 38,5 x 34,5 cm with frame
Series: Corporeal
Partially inspired by the Northern Renaissance, these works from 2009-2012 (with two later inclusions from 2018) are fairly small and minutely detailed figurative paintings with forms appearing in various phases...
Partially inspired by the Northern Renaissance, these works from 2009-2012 (with two later inclusions from 2018) are fairly small and minutely detailed figurative paintings with forms appearing in various phases of mutation and dissection.
They exhibit a portrait-like sensibility from afar while, upon closer inspection, suggest biological forms that coalesce in surrealistic fusion. Daily uses rich black backgrounds to emphasize the characteristics of the forms, positioning them as if they were painted portraits, which in fact was the intention of the artist. A sense of direct light has been avoided in order to accentuate the non-reality of these fantastical depictions. The imagery itself can be said to reflect physical sensations such as disgust, hunger, lust and phobia. Although the objects seemingly pop out of the canvas, the forms have been intentionally painted to appear flat (there are no shadows and lines break perspective when they overlap, for instance). This deliberate flatness undermines their composition and structure. They are meant to feel off, familiar yet inherently foreign, from somewhere they couldn’t be, or a past in the future.
They exhibit a portrait-like sensibility from afar while, upon closer inspection, suggest biological forms that coalesce in surrealistic fusion. Daily uses rich black backgrounds to emphasize the characteristics of the forms, positioning them as if they were painted portraits, which in fact was the intention of the artist. A sense of direct light has been avoided in order to accentuate the non-reality of these fantastical depictions. The imagery itself can be said to reflect physical sensations such as disgust, hunger, lust and phobia. Although the objects seemingly pop out of the canvas, the forms have been intentionally painted to appear flat (there are no shadows and lines break perspective when they overlap, for instance). This deliberate flatness undermines their composition and structure. They are meant to feel off, familiar yet inherently foreign, from somewhere they couldn’t be, or a past in the future.