HOUSEPAINT ON CANVAS
60″ X 48″
About the Artist
Timothy J. Horjus
I am creating artworks that function aesthetically within the framework of high formalism and the stylistic tendencies of post-painterly abstraction. They are pretty and handsome, and visually cling to the antiquated ideals of modernism, however, through a conceptual base and contemporary references, these paintings function in the current discussion.
My work evokes a current social and cultural space by utilizing the language of modernism in conjunction with traditional references to discuss our reliance on digitally produced and transmitted information. Through this lens of modernismsʼ embrace of painting and its process, I attempt to subvert, yet at the same time embrace the antiquated ideals of a historical painting. Unlike the exclusion of space in modernist painting, I seek to acknowledge and deny the historical precedent for illusory space as representation of the real. Within this contradiction I am attempting to evoke the space of the contemporary condition. This condition is one of awkwardness. We find our technology and culture increasingly pushing us away from ʻrealʼ experiences in-lieu of digital ones, all the while we continue to utilize our digital devices to have more ʻhumanʼ interactions. This situation is displayed through the antagonistic use of digitized information over the top of the contemporized reference to a historic sublime, the romantic landscape. The ʻnetworksʼ that are placed over the space, function as a stoppage, yet flirtatiously interact with the space of the painting in a way that is confusing and awkward.
The digitized layers are networks; they are the experience of being human in a digital world, our function as the cells/nodes/screens for the interplay of constant information. The balance between maintaining our humanness, and succumbing to the random deluge of text messages, pop up ads, email, youtube, and spam, the necessity of interconnectedness. The titles of my work are the anonymous subject lines of spam emails, highlighting what I feel is the universal concept behind my work. The ubiquity of these subject lines has started to create a new language, one that is global in its reach and recognizable by its abbreviations, misspelled words, and inferences. This new vernacular is the contemporizing of language as the classical seeks to deal with the changes necessitated by technology and is recognizable through its awkward use of seemingly recognizable elements in a new way.