Art Collectors

1700 1700 Daniel Stuelpnagel

Through the exhibition at Monument Sotheby’s and other venues I am curating collections of new paintings and bringing the art work in a special context in front of audiences including all sorts of people, not necessarily just art world patrons, fortunately through social media communications you can see what to expect in most cases so the events will connect with people who do arrive specifically to meet the artist and spend time with the art and purchase to collect a piece that will become a part of their lives.

If the paintings are created not just as an object or image but rather as a record of the artist’s experience in the process then a significant part of why people enjoy collecting art is not only to gain access to the image yet also to participate in the experience, in turn to have a daily process of seeing the work anew again and again.

Every painting is a self-portrait. With the detailed and intricate geometric abstractions I am expressing perhaps my own complex feelings and thoughts about the zeitgeist, certainly the immersion in technology and built environment, maybe also urban living and architecture, as well as the schizophrenic influence of social media. This fragmentation is a puzzle to be resolved, and there are so many iterations in continuous sequence in life, so the series of art works usually comprising an exhibition ends up being a metaphor for life and an abstract chronicle of recent experience, not just the artist’s but the shared experience of life in our society.

Composition, color and contrast, incorporating the influences of pop art, color field painting, minimalism, Modernism, perhaps even cubism, surrealism maybe in a tech or sci-fi kind of influence to the contemporary aesthetics of graphic novels and cinema, a passionate preoccupation with subtle texture, a sense of infinite space, constructivism, architecture, duality, these are some of the many fundamental themes and sources for my recent work in the Vector Space Paradox series.

That title comes from quantum mechanics and that is also another source for ideas and titles and compositions within this intensive exploration that has occupied me since 2016, through my work with Johns Hopkins University at TEDxJHU 2017, through several different studios and a series of more than a dozen exhibitions.

Despite seeming hard-edged and technical, these paintings continue to draw from a surprising array of elements in nature filtered through the abstract. Especially the idea of the neural network which manifest in everything from tree branches to the microscopic pathways in our brains. We visualize these patterns through many scales in nature and in our own biological sources. The paintings also incorporate organic curvilinear shapes in the brush strokes subtly interwoven in each layer, and primarily in the final overall field layer which occupies a frontal plane but ideally receded to visually occupy the background.

From the gallery installation I often encourage visitors to come to the studio and see a collection of paintings in another context, where I am working on dozens of pieces simultaneously.

I recognize the value of curating collections in a more spare layout for exhibition, and also in sharing the feeling of immersion and raw unfinished work that comes with a studio visit. It is staggering to me sometimes that this is the world I live in every day, I’m so used to it now but it occurs to me that the studio is a manifestation in reality of a world I have created, and the overall space incorporates many elements of the paintings themselves in macrocosm, the modular and scalable elements of the snap-to-grid walls where I compose and curate and interact with the work, as a stage set backdrop or visual field alternately closing in and expanding outwards to massive cosmic scale.

 

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