Joseph Haroutunian,James Linehan, and Lee Cummings:
Above and Below the Surface
May 25-June 24, 2018
Artists' Reception Saturday, May 26, 4-6 pm
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My painting involves an intuitive process that is free of specific subject matter. From 1985 to 2000 my focus shifted back and forth between allover fields and forms within fields. In 2000 I began the geometrical formatting of my fields. This was simply the result of liking the look of one painting when it came in close proximity to another painting. I started by adding one painting to another on the same canvas. This process evolved into varieties of combinations, both vertical and horizontal. I am currently at a point where large vertical sections are suggested by the spontaneously occurring layers in horizontal paintings. I admit that the horizontal layers evoke aspects of landscape. I am fascinated by the landscape of Maine and the Western US: mountains, oceans, canyons, rock walls, geological layers, rock formations, desert, cloud formations, mud flats, blueberry barrens. I am also interested in jazz, many forms of world music, rhythm, color, mark making, Asmat and other tribal art, and abstract art in general. All these elements find their way into my work. Landscape painting per se is usually not very compelling for me. Van Gogh is an exception, but more for his mark making than his subject matter. Joseph Haroutunian
Haroutunian is an impressively abstract painter, and his savvy vision is a great reminder that Maine's gritty inspiration isn't limited to scenic appeal.
Dan Kany, Maine Sunday Telegram The two paintings below are on loan by request of the Erevan,Aremenia US Embassy.
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Following our Haroutunian purchase, still a little in shock that I owned this beautiful painting, Peter and I drove towards Corea. En route, we decided to visit Schoodic Park again, not having been there for 18 years. Driving in towards the first ocean view, the scenery opened up as never before, displaying colors and textures from the very painting I had just purchased. There they were—the sinewy seaweeds draped over boulders, the mossy greens, earthy red rock, stained from the sea, and the distinct firs above, with blue-gray sky and water blackened from the clouds. That was all in my painting! And neither the scenery nor the painting had ever been so clearly depicted as in those moments, as if a complete discovery was in the making. It was the most incredible moment, as I kept declaring to my husband, “look there— and over there! This is what Joe was conveying through his own language!” It was so exciting and not easy to describe in words, but we know it’s not even necessary. Because Schoodic is right in my home with me now. PS 2018 New Work Click on images for larger views of individual paintings.
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