Moon Mountain No.2

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About the Item

We like to identify the places we live as being distinct from other places. And we impose values upon them that focus on this implied uniqueness. In the poem “Description Without Place”, Wallace Stevens explores the idea that, “internally, we really live not in places themselves but in descriptions of places. When we describe a place, we describe how it seems to us, how it reflects our desires.” I was born and raised in Montana. Since leaving, I have returned every year over the course of my life. In that time, I’ve lived entirely in urban areas, but in some ways, I’ve never left Montana. It has alway had an outsized influence on my life. For many of us who live in the urban environment, nature has become synonymous with a form of escape, yet our experience of the landscape in the modern world has frequently been mediated through its idealized reproduction. Last year, my wife and I moved to Sonoma, California near the remains of Jack London’s home, which burned to the ground before he could occupy it. We live on Moon Mountain, an area of the Sonoma Valley that is beautiful, but soon after arriving, the area was once again ravaged by wildfire. Our home was not burned, but we are constantly reminded that the beauty and bucolic ideal of this place is in stark contrast to a very real and present danger. The awareness that our relationship to Place is complex and often contradictory is at the root of my thinking about these paintings. During the pandemic, I, like many, spent a lot of time peering from the inside out. Looking out my window over the Sonoma Valley, I was struck by the metaphor of reflection. Not just transmissive light reflections, but cognitive reflection. I started out being visually seduced by reflected light, but gradually realized these paintings were metaphors for multiple viewpoints. Reality, as we experience it, depends entirely on the way we describe it, what we obscure and what we emphasize. It arises from our experience, shaped by individual taste and desire, and lodges in memory. As our memories are retold, they change ever so slightly with each recitation. I initially sketch these paintings out in segments, not unlike a paint by numbers system. I very much like the reductive nature of this method. The underlying drawing serves as a guide, but quickly gives way to the fluid, cumulative language of painting. When making any painting there is a question of what it means to make an image. I’m constantly torn between the ‘what’ of painting’s subject-matter, versus the ‘how’ of painting’s material presence. Recent paintings play across the lines where painting encounters matter, and matter becomes representation. Most of the new works have a grid within them. The grid has obvious art historical references: it serves as an organizing property, but also references a window sill. A physical thing that is rendered transparent in these paintings as a way of describing transience and impermanence. Like Stevens’ poem, these works consider a description, not of a Place, but my desires, my idea of a place. One that is influenced by that which is visible and obscured. I conflate the inside and outside, to consider multiple perspectives and to acknowledge interdependencies. In that way, these works have a political component. They are not political paintings, but like all understanding, they are rooted in introspective reflection that looks both inward and outward.

Creator:
Griff Williams (1966, American)
Creation Year:
2021
Dimensions:
Height: 56 in (142.24 cm)Width: 42 in (106.68 cm)Depth: 2 in (5.08 cm)
Medium:
Acrylic
Movement & Style:
Contemporary
Period:
2010-
Condition:
Gallery Location:
Bozeman, MT
Reference Number:
1stDibs: LU175029689512

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