Swirling about in a series of painted layers similar to a schizophrenic brain convulsion, small abstract images peer through the veneer. Any connection to reality is quickly disconnected, it’s all about the emotion and energy. The layers of frozen movement and splattered paint have more to do with the flow of bodily fluids or toxic chemicals than of some beautiful ideal. Raw, physical and over powering, the large-scale images consume our attention-pulling us closer to their iconography. There is no casual gaze, it’s a visual quick-sand that pulls us under. It’s not about the finished object in front of us, it’s an elaborate theatrical prop that sets our minds in motion.
Through this process of purification, the paintings almost become anonymous. Through the artist’s ego remains in the background, Jin Meyerson (1972, Incho/Korea) expects the viewers to actively look at the paintings. He asks viewers of his paintings to mentally participate along with him...to attempt to discover the structure of the pictorial plane, which at times engages in direct confrontation with works. They are aesthetically appealing, while at the same time they teach us something about the idiosyncrasies of the medium. © Peter Doroshenko