JAY BURTON TRACY | Paintings
blast : detail #38 (from The Ruined Sky), 2012
industrial paint, oil-and water-soluble pigment, polyurethane, silica
Sevier Lake salt clay, homemade walnut ink, carbon black, victoria blue, iron oxide
wax, interference, mica, metal shavings, sawdust, gesso on plywood panel
21 5/8 x 22 3/4 inches | private collection
Sevier Lake salt clay, homemade walnut ink, carbon black, victoria blue, iron oxide
wax, interference, mica, metal shavings, sawdust, gesso on plywood panel
21 5/8 x 22 3/4 inches | private collection
blast : detail #35 (from The Ruined Sky), 2012
industrial paint, oil-and water-soluble pigment, polyurethane, silica
Sevier Lake salt clay, homemade walnut ink, carbon black, victoria blue, iron oxide
wax, interference, mica, metal shavings, sawdust, gesso on plywood panel
21 5/8 x 22 3/4 inches | collection of the artist
Sevier Lake salt clay, homemade walnut ink, carbon black, victoria blue, iron oxide
wax, interference, mica, metal shavings, sawdust, gesso on plywood panel
21 5/8 x 22 3/4 inches | collection of the artist
blast : detail #36 (from The Ruined Sky), 2012
industrial paint, oil-and water-soluble pigment, polyurethane, silica
Sevier Lake salt clay, homemade walnut ink, carbon black, victoria blue, iron oxide
wax, interference, mica, metal shavings, sawdust, gesso on plywood panel
21 5/8 x 22 3/4 inches | collection of the artist
Sevier Lake salt clay, homemade walnut ink, carbon black, victoria blue, iron oxide
wax, interference, mica, metal shavings, sawdust, gesso on plywood panel
21 5/8 x 22 3/4 inches | collection of the artist
these paintings suggest that
some of the particulars driving my
conceptual, formal, and aesthetic interests
in painting now operate fully outside the
windows through which i passed on my
way to the works on paper produced
throughout the previous two decades.
this was a new, more personal formula
for creative conjuring—which is another
way of describing what one does when
creative gesture is sublimated and
something replaces nothing.
unresolved (and unresolvable) processes
and decisions now find fresh, bracing affini-
ties with powerful forces and functions
of pictorial illusion (and disillusionment),
the variable shapes of cognitive and/or
psychological states, and any and all received
notions of what constitutes the interior
or exterior landscape—real or imagined.
some of the particulars driving my
conceptual, formal, and aesthetic interests
in painting now operate fully outside the
windows through which i passed on my
way to the works on paper produced
throughout the previous two decades.
this was a new, more personal formula
for creative conjuring—which is another
way of describing what one does when
creative gesture is sublimated and
something replaces nothing.
unresolved (and unresolvable) processes
and decisions now find fresh, bracing affini-
ties with powerful forces and functions
of pictorial illusion (and disillusionment),
the variable shapes of cognitive and/or
psychological states, and any and all received
notions of what constitutes the interior
or exterior landscape—real or imagined.
goldsmith blocks studio (portland, oregon)
