Paint could be deconstructed as a veneer that coats the canvas, regardless of what it intends to communicate. Expressing on the canvas itself has many layers, and many coats of paint which invariable can be reduced to the idea of a facing that covers the bare canvas.
It may sound a little unglamorous, but art necessarily doesn’t have to appeal, and it could also lead you to think in a way that you did not expect. In fact, the veneer itself could be quite dynamic, and a slight scratch or a dent on a particular canvas could change the meaning of the painting, or the original expression. In a rather bizarre way to put things across, a newly painted car could suggest someone’s new found freedom to drive, or perhaps the ability get away from the familiar surroundings into the unknown.
However, a newly painted car that has been scratched could seem cacophonous and disorderly much like the observer’s own life could be. Thus, a simple layer of paint on a car could contain thousands of hidden meanings, emotions and depths which are as dynamic as our thoughts are. Thus, the painting receives meaning not only from the painter and the observer, but also by the situation in which it is found, and the condition in which it is observed.
With that in mind, concentrating on a particular painting or form of expression can result in a certain conclusive aspect of the art, and sometimes its inevitability, as Jamie Gibson puts it. His earlier works addressed the bridge that exists between everyday life and the abstract expressive nature of today’s society. He has now begun to experiment with ideas of emotions that cohabit within the veneers of layers of paint.
The depth that the different layers of paint create is almost like peeling the skin of an onion, only to find another layer and not expecting what pattern the underlying skin might possess. While the different layers of paint may not immediately suggest something as clear as a figurative work of art would, Jamie’s latest works provide the observer with the freedom to visually peel off the layers that exist and find meanings that point toward new forms, directions and heights.
Interestingly, such an experiment may not lead the observer to anything new, but Jamie Gibson feels it is a good risk to take. Thus, allowing the unconscious to interpret the layers that exist within a painting seems to be a better idea that offering an aesthetically pleasing art, which already serves the meaning to you on a platter without allowing you to experience the dynamics of artistic and interpretative freedom.
Jamie Gibson‘s statement on his latest works
If you concentrate too much on the visual side of painting you become too conscious of its inevitability. It takes a bit of fine tuning to create a desired aesthetic; Paint something, paint it out, paint something else, paint it out, and repeat… This creates a wild new world of depth, movement and energy; my paintings are an expression of that notion.
Whilst studying at the league in New York I began experimenting with ideas of emotion represented in an act of expression. Often by breaking the structure you open new doors. Sometimes painting out your favourite part of an image leads to something else entirely different, a brand new form, a new direction, sometimes it doesn’t, but it’s a good risk to take.