|When the illusion is lost, the art is hard to find . . .1|
This statement was originally printed in the "one-sheet" accompanying the exhibition Ronald Davis: Recent Abstractions, 2001 – 2002, published by School of Art and History, Denver University, The Victoria H. Myhren Gallery, in Sept. 2002. It was also reprinted in the catalog accompanying the exhibition Ronald Davis: Forty Years of Abstraction, The Butler Institute of American Art, Youngstown, Ohio.
The recent paintings included in this exhibition were created between October 1, 2001 and August 2002. They are Modern, coming at the twilight of the Modern Era, or perhaps forty or fifty years after the actual ending of the Modern Era which began with the European Renaissance around the year 1500 and ended in the 1950’s at the time I was embarking on my calling. Enlightenment has ended. “Post-Modenism?” I don’t think so. Historian John Lukacs refers to the “P-M” term as. “this belated, confused and inaccurate designation.” 2
suggest that these works are seeking a new visual epistemology that is
serious, moral, and spiritual, deviating from the self-indulgent, ironic,
post-modern, and politically correct painting and non-painting (remember,
painting is dead) or scumbling of recent years, and place them in the
tradition of the excellent abstract works of Abstract Expressionism (Pollock,
Still, Newman, and Morris Lewis to name a few of the greats that continue
to inspire me.) Constitutionally, I remain a geometrician and an expressionist.
These recent abstractions evolve from crude pencil sketches, eschewing traditional perspective illusion and are drawn with the eye and the saw. Illusion remains, but these paintings are more optical and elusive – and given looking time move around a lot in subtle, ambiguous, and mysterious ways. They require greater focus. They are hard to do.
Note should be made of the reductive, Hard Edge nature of these abstractions. Over the years I have oscillated between the Hard Edge and the painterly. I do both loose and precise with facility. However in these complicated times a need for clarity seems paramount. I have found that color contrast and interaction trumps drips, splatters, scumbles, and brush-work and other non-art content sludge as the means to true expression of the soul and intellect. Indeed, the chary binding of these bipolar opposites are at those extremes where opposites simultaneously meet and transcend sign making. Unknown archetypes of heart, head and crotch are discovered and revealed.