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Art in Embassies – Jonathan Anderson, Construction (no. 6), 2009
Image by US Embassy New Zealand
Jonathan Anderson (born 1977)
Construction (no. 6), 2009
Oil on oak panel
48 x 72 in. (121,9 x 182,9 cm)
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Embodying a painting of home in a different fashion, Jonathan Anderson’s Construction series reveals a place by what appears to be its withdrawal. His images of framed-in homes are delineated by their absence through his selective rendering of a background. By allowing the natural wood of the support panel to represent the foundation and studs of constructed homes, he seductively renders the landscape surrounding the construction site with paint. This change in the physical surface of his works, coupled with his beautifully painted illusion, challenges viewers to question the location as well as the representation of the location.
“I think about painting in construction terms. Paintings are buildings; they are structures designed to provide containment for ways of seeing and thinking, ways of positioning and orienting oneself in relation to the world. And I undertake art-making in these terms: as a structure-maker, transforming oily mud and fibers into visual spaces for the housing of stories, the posing of questions, and the visual organizing of concepts. It’s not only that these paintings are often images of buildings; they are themselves ‘buildings.’
“Yet, there is an impasse that occurs in these (and, ultimately, all) representations. The curious thing about a painted image is that it offers visual space upon a flat surface—it simultaneously opens out onto things-in-the-world other than itself, while at the same time persistently remaining its own distinct thing-in-the-world (a flat painted surface hanging on this wall)…
“I have been working through this idea in an ongoing series entitled Constructions…
“This series includes paintings of homes under construction, in which I’m thinking about the painting itself as a domestic construction site, conflating the construction of an image with that of a home.
“What appears to be the wooden structural framing of a house under construction is, in fact, the bare wooden panel that the painting is constructed on: the image is ‘negatively’ painted such that the wooden panel (the object) is conflated with the wooden studs and beams of the half-built home (the image).
“I’m interested in asserting both sides of this dynamic as clearly as possible in an attempt to understand the profound mystery of what George Steiner calls the “covenant between word and object, the presumption that being is, to a workable degree, ‘sayable.’” – Jonathan Anderson.
Biography:
Jonathan Anderson is an Assistant Professor of Art at Biola University. He has a Master of Fine Arts Degree from California State University, Long Beach, where he received the Distinguished Achievement Award in Drawing & Painting. He currently lives and works in Long Beach, California.
www.jonathanandersonpaintings.com
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