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Sliver Glimmers

Daniel Atyim

oil on canvas

“Much of my youth was spent skateboarding with friends through suburban alleys and combing through trashcans and rubbish discarded by others. Hot afternoons were spent inventing histories for the detritus we’d discovered.

History begins where memory starts. Image deterioration is inevitable as memory atrophies and fact congeals with fiction. This subjective series of events is remembered like a copy of a facsimile of a reproduction. While physicality asserts itself strongly upon experience, it is the ambiguity—both frustrating and inspiring—of the undefined spaces in between, that intrigues me most.

Exploring the function and meaning of surfaces, I find transition implicit in facades. I am interested in the ways that surfaces describe or dim underlying structures. Constructed from observation and imagination, my recent paintings are deeply rooted in repeated actions that embody labor and time. Each piece begins with a heavily textured underpainting verging on the chaotic outcome. The action is sublimated with thick circles of color oil paint extruded onto the surface creating a biased grid and like a net, attempts to bring order and balance to the underlying image. Many Surrealist artists began their automatic drawings and paintings with little preconceived outcome. The preparatory work for my paintings and drawings is done directly on the support, combining chance with expectation. The initial lines and marks develop into shapes and forms that allude to an equivocal experience. Creating these lush surfaces allows for an incremental development of color and image resulting in subtle shifts of perception. At times the color enhances the underlying image, but may also contrast with the underlying color and value creating a visual texture. This is especially visible when viewed from different angles. The low relief and density of the oil paint creates a micro and macro topography of points in space. Using identifiable references, i.e. organic forms, adds to the impression of locating oneself, a sense of being there or in there. The layers and fragments within my work create an enigmatic image that combines memory and the unconscious. At times my work is sadly funny.

The artist Juan Muñoz wrote, ‘Images tell us something and, if possible, something other than that which meets the eye.’ The image in situ is the initial greeting between a viewer and object. It contains elements of attraction or repulsion that create a kind of electricity. The understanding of any work of art can be inferred and influenced. I guide this influence by provoking the viewer through images that trigger their understanding and interpretation of my work. Through this consideration, these objects become mortal.”

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Price: $8,000
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