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Constantin Werner
PURGATORY - Brown Abstraction of Dead Souls Between Heaven and Hell

2019

About the Item

This painting is the artist's rendering of Purgatory. Some of the faces are barely visible through the murky atmosphere, their expressions are frightened, yelling into the void. The closer one looks, the more faces come into view. Hundreds of tiny black, blue and pink faces compose the background of this painting. Purgatory started Werner's technical approach of corroding very detailed paintings. After the the last layer had dried, he attacked the canvas fiercely with turpentine and color baths. "There is something very satisfying in destroying an elaborate, pleasantly appealing work, that took ages to do, risking its destruction in an unpredictable process. The goal was to a different type of beauty, a twisted, tainted one. This final painting shows lost souls, mutilated, rotting in a dark, undefined space. That space is Purgatory. A place that doesn’t hurt like the flames of Hell, but is lonely and foul."
  • Creator:
  • Creation Year:
    2019
  • Dimensions:
    Height: 48 in (121.92 cm)Width: 48 in (121.92 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Framing:
    Framing Options Available
  • Condition:
  • Gallery Location:
    Signal Mountain, TN
  • Reference Number:
    1stDibs: LU98517581792

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A companion painting to this piece, TECHNOLOGY OF DIRT is owned by the Knoxville Museum of Art. The painting "TECHNOLOGY OF DIRT & AIR" was inspired by an image glanced as I passed by a florist shop window. Inside the florist show was a vibrant floral arrangement overflowing with roses and foliage. On the surface of the window were reflections of architecture behind me and abstracted slivers of light and distorted shapes of things reflected though hardly recognizable. I snapped a few photographs at the time. Several months later, I returned to those images and was intrigued at how the flowers in the image seemed to be made out of crystal and how the reflections on the window "interrupted" the ability to easily make out the forms in the photograph. I was intrigued by the complexity of the image and how recognizable elements emerged and then faded into abstraction. As I worked on this painting, I wanted it to be as if it was coming into crisp focus, while also becoming a complicated tapestry of shapes and colors. I have made six paintings in this series thus far. Jered Sprecher is a visual artist who was born in Lincoln, Nebraska (1976). He received his M.F.A. from the University of Iowa and his B.A. from Concordia University in Nebraska. He has taught at Princeton University and Cornell University. Mr. Sprecher currently lives and works in Knoxville, Tennessee, where he is an assistant professor at the University of Tennessee. Jered Sprecher’s studio practice explores the “handwriting” of humankind. The vocabulary that he draws from is focused on the vast array of marks and images in one’s surroundings. From this vocabulary he samples visual motifs and imports them into his paintings and drawings. These works continually focus on remnants and fragments that are captured in the midst of change, then edited and fused together in the space of painting. These images are pregnant with a longing to communicate. The success and failure of these “messages in a bottle” are the basis of his work. Mr. Sprecher has had solo exhibitions at Wendy Cooper Gallery, Chicago; Jeff Bailey Gallery, New York; the Art Gallery of Knoxville; The Cress Gallery-UTC, Chattanooga; and Steven Zevitas Gallery, Boston. His work has also been included in group exhibitions at The Drawing Center, New York; Brooklyn Academy of Music (Next Next Art), New York; Cheekwood Museum of Art, Nashville; Des Moines Art Center; Urban Institute for Contemporary Art, Grand Rapids; Arthouse, Austin; Mark Moore Gallery...
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HELL - Dead Souls in Fiery swirl of Pinks, Reds, Yellows and Blue
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This painting is the artist's rendering of Hell. We see hundreds of small faces descending into a fiery swirl of reds, yellows and blues. The faces seem to...
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MIDNIGHT IN EDEN - Orange, Blue, Brown Adam and Eve in Surreal Garden at Night
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This painting is Werner's interpretation of The Garden of Eden at nighttime, as he imagines it becomes a hellscape after dark. Animals lurk in the darkness behind an emaciated Adam and Eve, the red eyes of a bull-headed dragon pierce through the darkness. "This was my idea: how about if the the Garden Eden was only a peaceful place during the daytime? Once night falls, dark and cruel animals appear, including bats and giant rodents, ruled by the Snake King (here a giant dragon with a male and a female head). Those frightening creatures represent the suppressed, destructive libido of Adam and Eve (painted upside down from each other to show that they are opposites.) Innocent, they only dream about sin and their dark, unrecognized desires." -Constantin Werner
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