STRATA
Oliver Arms Oliver Arms’ oil paintings are nuanced performances of give and take. With a practice focused on the meditative effect of revealing and obscuring, Arms creates surfaces densely packed with color and form. Though their energies are reminiscent of Jackson Pollock’s expansive AbEx paintings, the technique Arms employs to create his sweeping compositions differs greatly. To make his paintings, Arms embarks upon laborious endeavors that last months - in an almost sculptural process, Arms repeatedly sands down and then builds back up layer upon layer of oil paint, constantly altering the structure of the painting. James Hayward Referring to his lush paintings as “monochrome abstractions,” James Hayward’s thickly impasto surfaces are made from layers of rhythmic marks often executed in a single brilliant color. Fascinated by the calligraphic brushstroke, Hayward evolved from making flat, single hued panels in the 1970s to his now signature impasto paintings after a visit to Japan in 1982. Interested in the idea of the egalitarian composition, Hayward asserts that, “in my monochromes I try to avoid there ever being a special place. There’s no chosen place. It’s totally proletariat, the marking. I want the corners to be as important as the center and I want every mark to be equal in terms of importance.” Championing a complete lack of representation, Hayward’s paintings are raw and sensual explorations into the essence of mark making. Jimi Gleason Jimi Gleason’s newest paintings are otherworldly planes of undulating topographical texture enveloped by brilliant fields of airbrushed color. Gleason’s molten silver deposit surfaces are rugged and rich - some areas are scraped smooth, becoming highly reflective, while others ripple and crest like uncharted terrains. Prismatic visual structures SURFACE AND LIGHT emerge as the viewer moves around them, shifting in appearance as positions change and time passes. These enigmatic paintings are Santa Monica, CA - The William Turner Gallery is pleased to announce our intended to be engaging spaces where color, form and light come upcoming exhibition, Jimi Gleason : Surface and Light. Jimi Gleason’s togethersolo to interact in infinite combinations.
paintings are enigmatic. They emphasize seductive surfaces, which reveal no trace of traditional paint application. These mysterious surfaces are highly reactive to light, Andyposition Moses and viewer - acting as catalysts for shifting perceptions. They are immediately understandable as paintings, though it’s difficult to imagine how loomingThrough forms of the psychedelic colors emerge and swirl across theyGigantic, were created. use of non-traditional materials and luminescent stratospheric backgrounds in Andy Moses’ dramatic new body of work, silver deposit, Gleason creates works that inspire an intimate reflection on the the Metamorph Theseand monumental shapes appeararound to be frozen essence of how weseries. perceive experience the world us.
in flux, with swirling metallic veins of supernatural hues that threaten to flow over the edge at any moment. They seem to defy gravity, billowing Gleason’s most recent body of work is consistent with the iridescent paintings he upward like kaleidoscopic cumulus clouds. Moses has always been has developed over the last decade, but marks a radical departure in execution. intrigued by mimicking the forces of nature vis a vis his artistic process Using a silver-deposit surface coat, Gleason creates paintings that are ethereal - the Metamorph paintings continue that investigation with new vigor.
and glassy - sheets of solid vapor that respond and react to the play of light and their environment. These newest paintings are saturated with brilliant colors
ANDY MOSES, Morphology 1212, 2016, acrylic on polycarbonate mounted on concave wood panel, 60” x 60”
ANDY MOSES, Geomorphology 1703, 2016, acrylic on polycarbonate mounted on concave wood panel, 63� x
95”
ANDY MOSES, Geomorphology 1703, 2016, acrylic on polycarbonate mounted on concave wood panel, 63� x 9
95”
ANDY MOSES, Geomorphology 1801, 2016, acrylic on polycarbonate mounted on wood panel, 73” x 107“
ANDY MOSES, Geomorphology 1801, 2016, acrylic on polycarbonate mounted on wood panel, 73” x 107“
ANDY MOSES, Metamorph 1503, 2016, acrylic on polycarbonate mounted on wood panel, 66” x 95”
DETAIL: Metamorph 1503, 2016, acrylic on polycarbonate mounted on wood panel, 66” x 95”
ANDY MOSES, Metamorph 1502, 2016, acrylic on polycarbonate mounted on wood panel, 66” x 95”
JIMI GLEASON, Untitled, 2016, silver deposit and acrylic on canvas, 72”x60”
JIMI GLEASON, Untitled, 2016, silver deposit and acrylic on canvas, 72”x60”
JIMI GLEASON, Untitled, 2016, silver deposit and acrylic on canvas, 66”x54”
JIMI GLEASON, Untitled, 2016, silver deposit and acrylic on canvas, 66”x54”
JIMI GLEASON, Bright Star, 2016, silver deposit and acrylic on canvas, 66”x54”
JIMI GLEASON, Untitled, 2016, silver deposit and acrylic on canvas, 53”x48”
JIMI GLEASON, Untitled, 2016, silver deposit and acrylic on canvas, 32”x28”
JIMI GLEASON, Untitled, 2016, silver deposit and acrylic on canvas, 32”x28”
L 2 a a
Lightness, 2016, acrylic, automo-
OLIVER ARMS, Rest, The Beautiful Sisters, 2013-2015, oils on canvas, 84”x72” LEFT PAGE: Detail - Rest, The Beautiful Sisters
OLIVER ARMS, Native Son, 2014-2015, oils on canvas, 72”x72”
OLIVER ARMS, With Friends Like These, 2014-2015, oils on canvas, 84”x84” RIGHT PAGE: Detail - With Friends Like These
OLIVER ARMS, Head, 2015-2016, oils on canvas, 72”x84”
JAMES HAYWARD, oil on canvas, Abstract Diptych #35, 2014, 15”x22” Courtesy of Roberts & Tilton Gallery
JAMES HAYWARD, oil on canvas, Abstract #213, 2014, 27”x25” Courtesy of Roberts & Tilton Gallery