Jackson Slattery
In the air of the night, 2020
Huile sur toile et lin / Oil on canvas and linen
80 x 82 "
203.2 x 208.3 cm
203.2 x 208.3 cm
© Jackson Slattery
Dans sa peinture In the Air of the Night, Jackson Slattery combine différentes expériences spatiales ; un espace photographique familier est placé en butée contre une inscription plate et graphique...
Dans sa peinture In the Air of the Night, Jackson Slattery combine différentes expériences spatiales ; un espace photographique familier est placé en butée contre une inscription plate et graphique de texte en gras. Bien que distinctement différent de l'image de droite, on se demande si le mot est censé imiter un graffiti, ou peut-être une fenêtre adjacente sur un écran de bureau. Sachant que ses spectateurs consulteront leur téléphone intelligent pour connaître la signification du mot allemand qui y est écrit, Slattery ne manipule pas seulement l'œil de ses spectateurs. Dans l'image photographique du tableau de Slattery, deux couches s'affrontent, plaçant le spectateur à la fois devant le tableau et au même moment au-dessus de celui-ci, comme s'il flottait au-dessus d'une table de dîner. Les deux images superposées interagissent l'une avec l'autre, chacune luttant pour revendiquer la direction dans laquelle la gravité opère. Les objets que la main lâche tomberont-ils sur la table où la figure est assise, ou bien les objets tomberont-ils dans le tableau, sur la table qui existe ostensiblement pour soutenir l'assiette et les autres objets qui y sont peints. L'énigme n'est pas résolue et l'œil oscille entre deux possibilités.
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In his painting In the Air of the Night, Jackson Slattery combines differing spatial experiences; a familiar photographic space is placed abutting a flat, graphic inscription of bold text. While distinctly different from the righthand image, we are left wondering if the word is meant to emulate graffiti, or perhaps an adjacent window on a desktop screen. Seemingly aware that his audience will consult their smartphones for the meaning of the German word written there, Slattery manipulates not only the eye of his viewers. Within the photographic image of Slattery's painting, two layers also compete with each other, at once placing the viewer in front of the painting, and at the same moment on top of it, as though floating over a dinner table. The two superimposed images interact with each other, each fighting to claim the direction in which gravity is operating. Will the objects that the hand releases fall to the table that the figure is sitting at, or will the objects fall into the painting, onto the table that ostensibly exists to hold up the dinner plate and other objects painted there. The conundrum does not resolve, and the eye is left oscillating between two possibilities.
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In his painting In the Air of the Night, Jackson Slattery combines differing spatial experiences; a familiar photographic space is placed abutting a flat, graphic inscription of bold text. While distinctly different from the righthand image, we are left wondering if the word is meant to emulate graffiti, or perhaps an adjacent window on a desktop screen. Seemingly aware that his audience will consult their smartphones for the meaning of the German word written there, Slattery manipulates not only the eye of his viewers. Within the photographic image of Slattery's painting, two layers also compete with each other, at once placing the viewer in front of the painting, and at the same moment on top of it, as though floating over a dinner table. The two superimposed images interact with each other, each fighting to claim the direction in which gravity is operating. Will the objects that the hand releases fall to the table that the figure is sitting at, or will the objects fall into the painting, onto the table that ostensibly exists to hold up the dinner plate and other objects painted there. The conundrum does not resolve, and the eye is left oscillating between two possibilities.