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STATEMENT

My paintings of the last few years combine notions and reactions towards and from both the visual and auditory landscape. Since 2006 I have been invested in the way that sound might be represented through intervallic color and rhythmic mark making, creating a visual noise that can be analogous to an auditory counterpoint. White noise is an example we can all relate too. My goal has been to create a resonance that could be likened to the harmonic overtones of a particular instrument, the timbre of a space, or a condensed moment of precognitive experience. Phenomenological shit.

The label I would give to this work is that of a "sound-image". While there are some pieces I've done that are specific to this idea, the majority of my work is inspired by a mix of this and ideas pulled from the landscape around me. Through the discourse of painting these contrasting notions reconcile and merge, creating a space that is meditative but never quite at rest either.

My initial visual voice was that of a landscape painter and while that has never really left, it has been gradually subsumed by the subsequent development of my work. Since travelling to New Mexico a few years ago I have been drawn back towards the landscape as evidenced by the "New Mexico Day" and ""New Mexico Night" paintings. Recently the landscape has resurfaced in my paintings more directly and frequently without superseding the "sound-image" idea.

With the increased frequency and weight of landscape in my work I've been required to question what the visual dialect of a landscape is. This has expanded my consideration of landscape as having a political sphere, opening doors to landscape imagery that I've not actually directly experienced for purposes of exploring a landscape under threat. This started with "Oil Sands" and is currently expressing a louder voice in my work