Jeffrey G. Batchelor作品欣賞，想象力是他繪畫的核心
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 Hidden Agenda Oil on Canvas, 2009 Dimensions: 50" X 40" |
Lily
Oil on Shaped Canvas Panel, 2001
Dimensions: 84" X 60"
Insomnia II
Oil on Canvas, 1995
Dimensions: 36" X 48"
Dimensions: 60" X 48"
Ponies and Paintbrushes
Oil on Canvas, 2010
Dimensions: 30" X 24"
Dimensions: 40" X 40"
Oil on Canvas, 1994
Dimensions: 72" X 48" Knight Watch
Oil on Canvas, 1996
Dimensions: 48" X 72"
Dimensions: 24" X 36"
Spring 春
Oil on Canvas, 2007
Dimensions: 72" X 48"
Summer |
| Oil on Canvas, 2007 |
| Dimensions: 72" X 48" |
Summer 夏
Oil on Canvas, 2007
Dimensions: 72" X 48"
Autumn 秋
Oil on Canvas, 2007
Dimensions: 72" X 48"
Autumn |
| Oil on Canvas, 2007 |
| Dimensions: 72" X 48" |
Dimensions: 72" X 48"
Winter |
| Oil on Canvas, 2007 |
| Dimensions: 72" X 48" |
This is yet another painting inspired by the most famous painting in the world and perhaps the most influential artist of all time... "Mona Lisa" by Leonardo da Vinci. It is my hope that the viewer will forgive the pretentiousness of using such a masterpiece and appreciate my unique vision and execution.
The setting came from a trip to Florence, Italy, and a street I walked down where I found this splendid crest with a fragmented sign under it. In true Italian tradition, the sign had actually been painted over, and shows the relief and bleeding through of the other words. The words beneath (I think the first is "galleria") lead me to believe that this may have been an art gallery. Serendipitously, the fragmented word remaining was "elle," the French word for "she." The plaster was breaking away from underneath, and I loved the mixture of such grandeur beside neglect and decline. I created a window and a tile floor that could have been either indoors or outdoors, its placement being somewhat ambiguous. Here is the window where I saw "the girl."
I put paper fragments taped to the wall behind a Beaux Arts architectural drawing. I love the evidences of things once present but now gone, because the elements they leave behind are much like the way we humans collect our intellect, laying one thing over another, building a collage of emotions and imagery for which details often fade into oblivion. The sign is a perfect realization of this concept. There is another drawing of hands, taken from a book of Leonardo's work. The two drawings indicate the process of forming and conceptualizing a work in progress, showing
On the ledge of the window is a still life composed of two wooden artist's model hands and a carefully draped black cloth very loosely resembling clothing. The hands are posed as closely to the position of Mona's as possible. Whimsically, the trappings of the artist are strewn about the floor beneath the window, as well as one brush jutting out from under the hands. I included the box for the hands as an extra clue to help the viewer realize that this is an artist's means of putting his ideas together.
The tape is the most "magical" element of the painting. The tape roll floats off of the floor, and the taped-out rectangle hovers in mid-air, roughly framing the proportions of the "Mona Lisa." The drawings and the landscape all are suspended without aid of any holding devices, but the face of "Mona" most dramatically "floats" in the appropriate place.
"The Girl in the Window" is a visual depiction of the artist's thought processes as he conceives, conceptualizes, and configures his work. All of the elements conform to a single vision, drawn from the artist's abilities and experience. This painting shows that the real magic of all art is the mind that puts it all together. 《Grains of Sand》 Oil on Shaped Canvas Panel, 1998 ，Dimensions: 54" X 84"
Oil on Canvas, 1994
Dimensions: 48" X 60"
Dimensions: 60" X 69"
The Imprisonment of Andromeda
Greek Mythology claims that Andromeda was chained to a rocky island to be devoured by a sea monster. Her father, the king of Ethiopia, did this to save his realm from the wrath of Poseidon. Using this myth as inspiration, I've placed the figure in a place of illusion, "imprisoned" from the beach where she wishes she could be. What appears to be a beach with a vivid blue sea is in fact only a torn poster, although the bottom edge merges into an actual shelf with seashells. Her actual environment is bare dirt ground by what appears to be a paint-pealing building that has a window with metal shades. A stack of books sits by the "window" overlapping onto the ledge. These books represent another form of exile, a life within one's imagination that is removed from true reality. A dried rose sits on one book and another is taped to a wall. These are symbols of a once flourishing beauty that has gone away, leaving only their essence and a memory of what they used to be. Such was to be the fate of Andromeda. A Da Vinci drawing is taped to the wall; it's spiraling braids are reminiscent of a snake, or a sea monster. A photo taped next to the drawing shows the same woman seated on the ground actually moving into the waves. This is a symbol of her desire to reach the ocean she dreams of. As a twist of irreverence, the figure is smoking. I did this as a whimsical affront to the idealistic image that the woman portrays, and because my model for this painting smoked - why not? Finally, the butterfly inside the bubble is my tribute to my friend Billy Hightower, a fellow artist. Billy died from complications due to AIDS in 1992 when this painting was done. The butterfly represents the human spirit, and its freedom comes only when it escapes the sphere we call Earth.
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