Debra K. Jayne
Artist Statement
My work is about architecture, geometry, color, spatial relationships, and our
perception of reality. What is visually obvious and what is hidden from view but
part of reality? How does what is not present altar the viewer's perception of
reality? The philosopher Jean Baudrillard might refer to this as simulacrum and
hyperreality. His work interrogated the difference between an image and the
representation of an image.
I use oil or acrylic paint to convey division of space, movement, and forms. Shapes are frequently broken down into elemental geometric forms. Isolated sections separated by border and shapes in proximity or far apart may result in tension or openness that results in dynamic space as well as static areas. Parallel lines may suggest movement, staying both within the canvas and veering off it. I often use printmaking tools for mark making, lithographic crayons for drawings and squeegees to move paint across the canvas.
Artist Statement
My work is about architecture, geometry, color, spatial relationships, and our
perception of reality. What is visually obvious and what is hidden from view but
part of reality? How does what is not present altar the viewer's perception of
reality? The philosopher Jean Baudrillard might refer to this as simulacrum and
hyperreality. His work interrogated the difference between an image and the
representation of an image.
I use oil or acrylic paint to convey division of space, movement, and forms. Shapes are frequently broken down into elemental geometric forms. Isolated sections separated by border and shapes in proximity or far apart may result in tension or openness that results in dynamic space as well as static areas. Parallel lines may suggest movement, staying both within the canvas and veering off it. I often use printmaking tools for mark making, lithographic crayons for drawings and squeegees to move paint across the canvas.
