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Kris CoxPost Concentric Episode Bone Diptych2011
2011
About the Item
Pigment wood putty, acrylic, Dorland's wax medium on wood panel
signature and year on verso
Constructed paintings comprise the Concentric and Post Concentric Episode Series. They are symbolic abstractions of time and memory, created by a process of applying multiple layers of pigmented wood putties, on wood panels with grids that have been chased into their surfaces. Those grids which appear irregularly through the layers of putty are a metaphor for memory, while the concentric, multi-chromatic rings are symbolic of time.
The Curtain Series, also constructed paintings consisting of multiple layers of pigmented wood putties, are more organic and gestural than the Concentric Episode Series because of the drawing process and their overall image. Read as translucent curtains or membranes, they are both literal and metaphoric barriers between the viewer and that which exists beyond.
All of the ‘constructed paintings’, including those from the Post Concentric Episode Series. the Curtain Series, and Stackers, are done on wood panels. This is necessary because I often cut and drill the surface before applying the primary medium, pigmented wood putties. I apply several layers of pigmented wood putties, again often drilling and incising the surface, and fillings the holes and incisions with more putty. All of the color one sees in the work is embedded and integral to the surface…there is no paint on the surface. Sanding the surface many times throughout the process eventually brings to fruition the sensual surfaces one sees in the final work. A wax medium is the final application to the surface, which enhances the color and protects as well.
- Creator:Kris Cox (1951, American)
- Creation Year:2011
- Dimensions:Height: 75 in (190.5 cm)Width: 122 in (309.88 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Phoenix, AZ
- Reference Number:Seller: 2019112111stDibs: LU13712994002
Kris Cox
The underlying grid matrices in these paintings serve as metaphor for memory; while, the incremental and rhythmically spaced concentric rings are intended to reference time. The grids having been chased into wood panel, literally lie beneath the patinated and polished surfaces of these works. As light is absorbed from on layer to another, a delicate luminosity and depth is perceived. The notion of reflection becomes both metaphoric and literal.
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