Jamie Brunson

Granada

1998

This composition is informed by meditation or contemplative practice, applied to studio practice. The first layer of linework is drawn freehand, improvising energy lines to create a ...

Jamie Brunson's Matrix highlights the artist's mastery of color theory, the network of lines in vibrant red-orange against an as vibrant blue-green ground creates a harmonic resonanc...

In making the Veil paintings I rely heavily on the material phenomena that occur with wet-into-wet paint application, and with additive and subtractive processes. I work with a mix...

Bands of textile patterns in shades of blue.

Bands of textile patterns in shades of orange.

The word bindu dates back to the hymn of creation in the Rigveda. Bindu is considered the point at which creation begins and may become unity. It is also described as “the sacred sym...

Gaza, a Provocative and haunting figurative work painted with warm golden and burgundy red hues. ‘Gaza’ takes its inspiration from images of women in turmoil that the artist has seen...

A unique, medium to large scale exotic landscape painting with vivid colours and details. The painting style shows influences from the post-impressionists and fauvists, yet is undeni...

A unique, medium to large scale exotic painting with vivid colours and details. The painting style shows influences from the post-impressionists and...

A unique, medium to large scale exotic landscape painting with a vivid colours and details. The painting style shows influences from the post-impressionists and fauvists, yet is unde...

A unique, medium to large scale exotic landscape painting with vivid colours and details. The painting style shows influences from the post-impressionists and fauvists, yet is undeni...

“The oval paintings give the feeling that somewhere in their essence, invisible to the human eye, there is a light source, which disperses the cleansed and superior light through the reflective whiteness of the wall into the space.” Dr. Nataša Smolič In this oval artwork color is present like the natural reflection of the painted canvas outside the painting surface at the paintings back. So, the source of colour isn′t any electric source. It happens naturally like a reflection on the wall. I′m researching this praenomen more than a two decades. A non-material reflection on the wall appears as a reflection of the painted object. And in daylight it changes all the time. You are kindly invited to see a video of that process on my homepage : video1 and video 2. On the back of the solid wood support panel there is intensive acrylic paint, which is only visible as a reflection of red color on the wall. I used oil paint for the front of the painting. The wooden panel of the picture was hand-shaped at the front into a slightly convex shape. . . . . . In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light...