Bernard Mattox
Although there are exceptions, I have never fancied myself as one who works by direct and external observation. Hence, I use the term archaeology of excavation. Long before I lost my common sense, I was an Archaeology/Geology major at Tulane.
Art history documents over hundreds—if not thousands—of years the great scope of masterpieces by those whom I pursued a more direct, narrative or realist manner.
The excavation painters share a very brief moment in modern time dating back to the early 20th century with the pure abstraction of Wassily Kandinsky and Arthur Dove. A brief list of some of the greats would include Miro, Gorky, Mark Tobey, Cy Twombly, and Susan Rothenberg.
It has been argued (though I will spare you here) that there are more similarities than differences between these schools. Every mark and image ever laid down on canvas has a source and origin. The same can be said for memories, dreams, thoughts, and associations. From whence it came is a good question. Please note that I stipulate to oversimplification. I left my old and much loved abode of twenty three years on the Bogue Falaya river in 2012. I am now a little farther away and deeper into the woods.
“Resurfacing” series
48”x48”
oil, mixed media on wood panel
“The Problem of the Bridge” series
48”x73”
oil, collage, mixed media on wood panel
“Epistles to Joan Miró” series
36”x48”
oil, mixed media on wood panel
“Epistles to Joan Miró” series
48”x96”
oil, mixed media on wood panel
“Epistles to Joan Miró” series
36”x52”
oil, mixed media on wood panel
*sold
“Epistles to Joan Miró” series
48”x24”
oil, mixed media on wood panel
“Garden of the Unmoved Mover” series
60”x48” (diptych)
oil, mixed media on wood panel
*sold
“Archeology of Solitude” series
24”x20”
oil, mixed media on wood panel
*sold
“Epistles to Joan Miró” series
48”x60”
oil, mixed media on wood panel
“Chasing the Thing” series
24”x48”
oil, mixed media on wood panel
*sold
“Chasing the Thing” series
24”x24”
oil, mixed media on wood panel