Jamie Chase’s ‘Point of View’
Posted on July 23, 2014
Jamie Chase has had a strong vision for his solo show since we put it on the calendar, so we weren’t surprised when a perfectly fitting exhibition title appeared in our inbox this May.
“POV is the name, which… stands for Point of View,” Chase wrote. The Santa Fe painter has spent the year meditating on frames. What do we include in a frame, and what do we leave out? How does what we see (or choose to see) affect our perception and identity?
The resulting works are unified in their elegant lines and warm, subdued palette, but diverse in their subtly shifting perspectives. Some of the images seem to be in series, with figures striking similar poses but reflecting vastly different moods.
The lounging nude in ‘Sanctuary‘ radiates turquoise serenity, while the grey figure in ‘Up Late‘ has a languid, sleepy beauty. A trio of ladies in ‘Points of View‘ and a similar group in ‘Now and Then‘ become meditations on different types of perception—physical and temporal.
What’s Chase’s point of view on the new artwork? Look below to read his artist statement for ‘POV: New Paintings by Jamie Chase‘ and make sure to attend the opening reception on Friday, July 25 from 5-7 pm.
From Jamie Chase:
point of view
The title of this show is meant to suggest the unique “frames” through which we view the world,
the lens of self that interprets our experience.
If all experience is subjective, then art is subjectivity squared.
A painter must choose what to paint and how to paint it.
Choices of shape, color, emphasis, process. When to stop.
For most of my career, I have chosen the human figure as my subject and metaphor.
The human form is the intrinsic architecture of our experience and is immediately
familiar as a common, yet universal, reference point.
As I have studied this form across its many art historical evolutions,
figurative painting has proven to be a vast universe of artistic possibility.
For this show I have continued my process of bridging classical draftsmanship with abstraction.
I want to evoke a convincing human presence while eliminating details
that inhibit the gestural application of paint.