Constantin Werner

PURGATORY - Brown Abstraction of Dead Souls Between Heaven and Hell

2019

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

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...

Jason Stout was born in 1977. He received his BFA in studio art from the University of Tennessee at Martin in 2001 and a MFA in Painting from the University of Texas at San Antonio i...

"I don’t do enough red paintings. I like red, but somehow it doesn’t end up in my work all that often, or it ends up pretty muted and earthy by the end. When I was lighting the sculpture upon which this painting is based, I knew I wanted to do something with the red lights I had. As with previous work, this painting explores entanglement as both a compositional structure and as an artistic idea. The representational part of the painting is pushed as close to a photographic rendering as I could at the time. Meanwhile, I’ve contrasted that with flat graphic elements. I also wanted to do something interesting with the cast shadow of the form: whereas in some previous works in the series the main form either had a traditional cast shadow grounding the it to the illusion of a ground plane, or no cast shadow which left it floating within the shallow depth of the image, in Untitled Construct 5 I wanted to do something more specific with the cast shadow. The idea came to me to invert it to be pure white. Technically this was a bit of a challenge because the whitest oil paints take months to dry – so this work had quite a bit of ‘sit and wait time’ between layers. Personally, I enjoy the composition of this painting because the red attracts the eye towards the bottom left of the painting, but the contrasting movements in black, gray and white pull the eye up and over...

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