c.2014/2016 2-4-6 Landscapes

Two Four Six Landscapes

Two Four Six Landscapes c.2014-2019 (current)- is part of CA Garage Paintings. The group overlaps both Pupillary Distance self-portraits (see seperate page), as well as the Imaginal Cells paintings (see seperate page). With 2-4-6, the artist examines the basic components of a landscape. These works use a “constrained” color palette, “constrained” is defined as colors applied as a single color. Rarely are colors mixed on canvas. The color autonomy comes from rejecting “local color”. Charles believes that every color is beautiful unto itself. He gives us color as shape detached from representation. The illusion of depth, created by shape and color, is at odds with the bare, 2D flat, white canvas. No whites are ever added to change a shape. White shapes remain white by absence. There is no painting over. Each shape is a color of its own, sometimes changed by density. It may be enlarged, but can’t be reduced. Color shapes glance off other shapes. Tangents pinball us. Placements must be discrete. Because humans interpret colors subconsciously, a blue will be seen as sky or water in most situations. Color placement is unmoored from reality without harming the “subject”. The artist uses a personal “system” to suggest changing spaces. He does not want to establish a “fixed” scene. We are urged to lose our bearings yet feel landscape. The paintings are not abstractions of a thing or place. They are a more purely visual language of paint and color. The color insistence ends the need for place/time titles common to the landscape genre. The “2-4-6” in the group title indicates the number of sides or colors each hard-edged element in a painting contains. This element represents the horizon aka the human struggle for order. Sometimes 2-4-6 is a count of elements in total. (The first photo, With Tabletop Setup, illustrates the shift from Pupillary Distance self-portraits to 2-4-6 Landscapes.)