Circus of the Sun (2025) 绘画 由 Darren Jekel

油在帆布上, 64x72 in
US$4,751
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  1336 px  

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文件尺寸 (px) 1336x1500
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This work is a collaboration with Henri Matisse (La Danse, 1909), perhaps David Hockney (grid theme), and certainly my friend Elen who has an MFA degree in dance and who pole dances for fitness. This work is a release for me and a bold departure exploring a new series of work. 关于这件艺术品: 分类, 技术技巧 & 款式. 油. 由与亚麻子油或康乃馨结合的颜料组成的油漆。传统技术是将越来越富油的油漆层叠加在一起,形成坚固耐用的衣架。. [...]
This work is a collaboration with Henri Matisse (La Danse, 1909), perhaps David Hockney (grid theme), and certainly my friend Elen who has an MFA degree in dance and who pole dances for fitness. This work is a release for me and a bold departure exploring a new series of work.

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I love the messy brush that makes a neat stroke. An American artist, from the San Francisco Bay Area, I got to know Wayne Thiebaud at UC Davis. “Good artists borrow and great artists steal”, so with bright light [...]

I love the messy brush that makes a neat stroke. An American artist, from the San Francisco Bay Area, I got to know Wayne Thiebaud at UC Davis. “Good artists borrow and great artists steal”, so with bright light I stole his 'heavy brush' sensuality and his California color.  Oil is my preferred medium and I often mix it up with a kitchen blender, using eggs and other mixtures to make a mayonnaise-like medium that I call ‘emulsion’.   I experiment with materials restlessly- recklessly?  I stole Anselm Kiefer. Now, when I paint I feel like an alchemist searching for an unreachable prize- a paradise that I ache and pine for. I zoom in up close with a grid and graphically search and search. But of course, there is no paradise. Facing that truth is where the focus of much of my work comes through, with pictures that are physical, modern, earnest, and unsentimental. Originally my paintings were completely non-objective, abstract. They soon switched to landscapes with far off horizons and narratives of dark longing. Currently dancing females have emerged center stage and my painting appears to be moving beyond ‘post-modernism’ to a place less cynical and ironic. Now I am interested in a back to basics, meta-modern earnestness. But still the most astoundingly deep and existential thrill for me comes when I recognize that I have finished a painting and find that my art is not mine; it just grew on the wall.

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