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Temporal Chroma

Acrylic on Canvas on Wood Panel

14 x 11 x 3/8 inches

SERIES: " Illusional Directives - Propensities of Time "

The works relate the temporal disposition of the relatively unseen forces of gravity and the earth’s rotation, illuminating frequent transitory events that occupy a brief moment as they happen, and then recede to a marginal location further and further in the past. Gravity and it’s effects, are constantly felt by us, yet remain invisible...depended upon daily, but rarely acknowledged. It’s presence and our menial understanding of it’s enormous power are most often taken for granted, unless the obvious happens, as when something falls to the ground.

Seldom do we recognize it’s more prevalent, more subtle effects, like when a shadow rolls slowly across the ground, shape shifting... becoming something new... then dissolving, vanishing, as it’s light source is extinguished. It is these mindfully disconnected transformational effects on spectral color and the nebulous movements of the very “Light” we use to identify, relate, and manage the experiences of our lives, that feed my creative curiosity as an artist. I am endeavoring to visually account with reductive, minimal, starkly graphical shorthand, images that grace the nuances of “Time”.

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Portfolios: " Illusional Directives - Propensities of Time ", March 2012 Curator Reviewed Art

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Comment by Resident Curator on March 27, 2012 at 9:06pm: Thank you for responding, Rich. I hadn’t seen the distinctive paint surfaces- I can image the difference in matte versus gloss surface accentuates the separation between elements and causes a subtle reflective shift. I would agree that is one of the downfalls of viewing physical objects on a monitor. Unless they were created to be seen in digital format, the viewing experience falls short. But of course exposing our work to an audience with no boundaries is the trade off.

Comment by Rich Moyers on March 27, 2012 at 3:11pm: Thank you for your cogent observations about my work Kristen, your thoughtful critique is very much appreciated. To clarify my intended meaning for the words 'nebulous" and "transitory" used in my statement about this Series, the works contain geometric interpretations of "passing events" with the main elements referenced exactly as you perceived them, "architectonic".... and intended as a single representation of those "slivers of frozen time " as you so apply stated. If these moments weren't "stopped" in the artwork, they would indeed dissolve, go from "is" to "was" as normally happens. They're meant to be "solid", ONLY to register that precise moment, with the divisional background intimating the progressive movement of time itself, like day to night with orbs of sun and moon, ever EVOLVING cycles though constantly repeating, but never in the exact same way, at each moment in time. Another critical element of these works, is careful attention to include a rich combination of surface qualities. I use various reflective differentiations of paint gloss and counter point application methods to heighten contextual dimensionality. This REALLY accentuates the relational component of the subject to it's background, greatly amplifying the total concept when viewed in person.... though it's difficult to fully capture photographically, and may not be readily apparent on all monitors.

Comment by Resident Curator on March 27, 2012 at 12:54pm: Curator’s Comment:

I don’t know that there’s much I can augment in terms of comment on your work that would offer more insight than your own very well articulated statement. Your nuanced references to time and gravitational forces are evidenced in the work, but I also consider the hard edged geometry even more elemental. While the visual weight of this piece is concentrated more in the bottom section, the small tandem circles in the middle and top right imitate each other, and could point towards mirrored intervals and visual interstices. These are strong, poetic works. One observation I might put forward is that I don’t see these works as being nebulous or transitory, as the forms are too stoic to embody dissolution of matter. To me they correspond to slivers of frozen time, and stand in for architectonic structures that are at the mercy of the elements, but ultimately stand against erosion and time.