New Sharon Church Road (2012)

Damian Stamer

I chose this painting for how the subject interacts with the environment itself. I saw this painting and saw a silent language in it. Through the lack of contour, the piece appears to attempt to describe without words the artist’s thoughts surrounding the building when he first encountered it.
The gray-scale shading of the weeds along the darker wall of the building makes the building appear to nearly fizzle into and become one with the nature around it. To me, this seemed to emphasize how old and worn the building is, and represents how nature will consume a structure back into the environment given time. Similarly, the gray-scale component of the painting allows the roof of the building to blend in with the sky, completed with the invasion of a single cloud within the invisible contours of the rooftop. This, to me, also enhanced the time-lapsing imagery of this building slowly deteriorating, giving away to nature as its roof gives and eventually falls in on itself, leaving nothing to obstruct the continuous view of the sky.
The age marks administered along the painting’s edges enhance the theme of time even more. The piece itself has a lens acting as a fourth wall to the viewer (much like in the famous artistic statement “Ce n’est une pipe”,) made to look like an aged photograph with dodged discolorations and burned folds and wrinkles. Time appears not only within the subject matter of the perceived photograph, but also in the visual medium which it is delivered within the painting. Time has eaten away at the house, as time has eaten away at the photograph, and all the same may the painting itself be consumed by time as well, since nothing in life is immune to age: including art itself.

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