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As a poet, philosopher, and painter, I am fascinated by every aspect of mankind. In my paintings I communicate my comments about mankind through my treatment of the human form and its surroundings. I explore natural design in humanistic fashion. I define natural design as rough and organic and humanistic fashion as linear and polished. I pose simple questions like, “how can you tell something is man-made?”
I apply my simple observation of a human’s intuitive craftsmanship principles in order to depict natural forms. I paint forms with solidity, smooth and unbroken line, and polished refinement to complement the interior of any structure in which the painting is displayed. Natural design is incorporated by modeling directly from the figure and exploring different degrees of a shape’s firmness.
The poses of the painted figures reflect contemporary images prevalent in today's Western culture. I utilize common images while making connections to artistic styles and subjects of the past. After thorough exploration and study of many different artistic styles, I have developed a style that I call the "New Geometric" due to its contemporary nature and the geometric questions that initiated its development. It involves compromise between realism and abstraction. Each painting is an elegant and sophisticated image of the abstracted body, the space that shapes it, the underlying compositions among which we find ourselves, and the surroundings that play a role in defining every person.
While abstracting the figure, I keep an open mind and look to create playful shapes in order to remain unpredictable. As genetic science develops, I find myself asking how much of “who I am” is determined by predisposition and how much is determined by its complement, which is environment. I find a person’s surroundings to be equally important as the person being painted. A person’s surroundings are a factor in deciding the physical appearance and pose of a person. I try to capture or create the moments that a person’s surroundings glorify their existence.
Because abstraction is masculine, I often wed it with the curvilinear beauty of the female form. Sleek and modern, the forms’ edges have the sharpness of metal while the modeling of the forms resembles that of well-sanded wood. It creates tension and mystery to entice the viewer to another level of understanding and feeling. I keep my paintings in establishments of fine art by adhering to compositional design and incorporating realistic techniques into abstraction which I render with precise refinement.
Jon Ross |
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Jon Ross Art (.com) |
