Opus Nirvana

RUN #:01041s
Type:Mixed Media On Cradled Wood Panel
Size:24 x 30 Inches
Release:January 26, 2015
Run of:1
We Have A Dream
35 Artworks0 Available

This piece of original artwork is ready to hang.

"The first layer of this artwork is Martin Luther King's speech, only the text is reversed and made almost unreadable and abstract in its initial visual quality. The layers of paint on top, angular Constructivist shapes, represent various demarcation points of memory regarding the civil rights movement. However, those points become deluded over time, represented by the competing vertical line work,as we struggle with all of the other complexities of living in the shock jock communication age and the bombardment of immediate and infinite media. Look at this piece as a necessity for society to truly see through the layers of our daily lives, decipher and rediscover this speech as if it were a lost language and find the love of one another that MLK truly fought for." - Jon Parlangeli

Participating artists include: Allison Vince - Ashley McFadden - Ashley Marie - Ben Saginaw - Bethany Shorb - Brian Lacey - Corey Birdwell - Christopher Batten - Desiree Kelly - Dessislava Terzieva - Ellen Rutt - Eno Laget - Exactly Hi-Tops - James Noellert - Jason Reed - Jeremy Deputat - Jesse Kassel - Jon Parlangeli - Joshua Hanford - Julian Spradlin - Kobie Solomon - Kristin Adamczyk - Lamar Landers - Malt - Mark Sarmel - Michael Eugene Burdick - Michelle Tanguay - Mike Popso - Nick Jaskey - NNII - Paula Schubatis - Paula Zammit - Rashaun Rucker - Rick Williams - Robby Dimaria - Ron Zakrin - Ryan C. Doyle - Sal Rodriguez - Sheefy - Sleep - Sydney G. James - Tead - Tom Stoye - Tylonn J. Sawyer - & Zak Meers

For pricing, shipping information and availability email email [email protected]

This original piece of artwork comes signed by Jon Parlangeli and with an Original Artwork Letter of Provenance from Inner State Gallery.

ABOUT Jon Parlangeli:
I have been painting in and around Detroit for over 25 years with artwork placed in both public and private collections. I was first educated at Western Michigan University studying sculpture in the late 80s. Eventual bronze and steel patina experimentation lent credence to painting and me away from WMU in 1991 towards the Detroit art scene and Wayne State University’s painting department. At Wayne I was able to flourish with my new medium, oil, and begin my lifelong journey into paint not only as a simple medium, but a vehicle for sensory experimentation and transformation. My work is rooted in abstract expressionism, impressionism and also a nod to cubism in years past. Each genre furthers my passion for the medium and satiates my mood for imagery no matter which vehicle I choose to convey my message. I do work on a larger scale whenever possible. Scale is important to me in defining the relationship between artist and artwork and audience and artwork. Through process and experimentation the work becomes an amalgamation of color, line and texture infused with natural history, modern thought and perception. Process is everything to my work, and generally outweighs the final product in terms of importance because of the informational and emotional release of creation. My goal is to initially draw viewers into the image as a whole and become become comfortable with scale, light and the relationships of color and movement. Upon further reflection a sense of nuance appears; the accidental and purposeful relationships of any scale that resonate and become apparent as primal, and finally drifting back again to debate the overall impact of the message be it natural, sociological, or otherwise. When my career as a painter began it seemed all I wanted to paint was trauma genres; to make bold statements regarding the injustices of the world through simple but narrowly defined concepts. I consider it important work for my career, but also the work of a youth passionately influenced by the German Expressionists as well as singular works such as Picasso’s Guernica. As my career progressed I began to delve deeper into the medium forsaking some immediate messaging. The influence of Van Gogh and De Kooning filtered in. Van Gogh’s texture and line work congealed with De Kooning’s compositions and forceful use of paint caused me to create hybrid messaging that relied more on subtlety with increased focus on direct color and line relationships. By 2010 that direction carried me away from the figure almost completely and closer to abstraction expressionism. The paint itself was speaking more forcefully through my process. This is not to say that my paintings are now bereft of sociological, political or otherwise messaging, but that their representation in my work is now defined with a different thought; a more mature understanding of the art and its context in the world around me. I prefer to work in oils whenever possible for the absolute beauty and intensity, but also utilize acrylics, watercolor and spray paint depending on the effect I am looking for. I am obsessed with what paint can do; be it painted, poured, tossed, globbed on or scraped. Happy accidents and planned execution of paint provide an unlimited dialogue of perception at its most primal. If I am not painting thickly, then I typically liquefy the paint using a mixture of oils, resins and other vehicles. These additives act as thinners along with highly pigmented paints that can withstand thinning without compromising color quality. In this manner of painting reactions are just as important as actions as the paint takes on a life of its own when it meets complimentary or contradictory elements.

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