Victor Proulx

Victor Proulx

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My paintings are events of paint, no meaning on an intellectual plain, nothing to “understand.” Worth looking at as one might look at a cut diamond, or polished turquoise. One looks for the occurrence of various kinds of junctures made up of colors, shapes, and line, within the painting. I want my painting to be interesting for a long period of time. Hence, the complexity of edge. I come back to these paintings and see painterly events I had not noticed before. A kind of play. Figure ground ambiguity is a major vehicle for me, to paint a kind of visual confusion. A way to shift - ever so slightly - ones paradigm. This newness, this exotic, is what I want to find in my painting. Therefore, I must paint far beyond my preconception, and hence the Abstract Expressionist accidents, the drip, the almost uncontrolled brush, the strokes, etc. found mostly in the first coat. Edge is fruitful. There one can see into the first coat, the under painting, action painting.

Art is a mechanism of civilization used to replace certain ecstatic primal experiences that language has dysfunctioned.

Painting is an aperture to the here and now.

“There are no rules. That is how art is born, how breakthroughs happen. Go against the rules or ignore the rules. That is what invention is about.” Helen Frankenthaler. ”The purpose of art is the gradual, lifelong construction of a state of wonder and serenity." - Glenn Gould. "An artist's job is to surprise himself. Use all means possible." - Robert Henri "Art is the essence of awareness." - Louise Nevelson. "When you express your truth, you fall directly into your purpose." Vicki Howie "All true artists, whether they ...

My paintings are events of paint, no meaning on an intellectual plain, nothing to “understand.” Worth looking at as one might look at a cut diamond, or polished turquoise. One looks for the occurrence of various kinds of junctures made up of colors, shapes, and line, within the painting. I want my painting to be interesting for a long period of time. Hence, the complexity of edge. I come back to these paintings and see painterly events I had not noticed before. A kind of play. Figure ground ambiguity is a major vehicle for me, to paint a kind of visual confusion. A way to shift - ever so slightly - ones paradigm. This newness, this exotic, is what I want to find in my painting. Therefore, I must paint far beyond my preconception, and hence the Abstract Expressionist accidents, the drip, the almost uncontrolled brush, the strokes, etc. found mostly in the first coat. Edge is fruitful. There one can see into the first coat, the under painting, action painting.

Art is a mechanism of civilization used to replace certain ecstatic primal experiences that language has dysfunctioned.

Painting is an aperture to the here and now.

“There are no rules. That is how art is born, how breakthroughs happen. Go against the rules or ignore the rules. That is what invention is about.” Helen Frankenthaler. ”The purpose of art is the gradual, lifelong construction of a state of wonder and serenity." - Glenn Gould. "An artist's job is to surprise himself. Use all means possible." - Robert Henri "Art is the essence of awareness." - Louise Nevelson. "When you express your truth, you fall directly into your purpose." Vicki Howie "All true artists, whether they know it or not, create from a place of no-mind, from inner stillness." Eckhart Tolle.

Summers 61 & 62, apprentice under Bill Longley, Denver. 1965 to 1968 The Colorado College, teachers were Bernard Arnest, Herman Snyder, et al. Art history teachers included Frans Schultz (Summer school) et al. Fall 1967, Whitney Fellow in American art, Joseph Raffael was my tutor. 68' 69 school year, Forth Year Study, School of Visual Arts. Teachers Joseph Raffael, Malcolm Morley, Robert Mangold, Mel Bochner, and Paul Waldman et al. William Agee, art criticism and modern American art history. 1970 to turn of the century, confused, though intense periods of painting and drawing. 1999 to 2013 spent seeking a spiritual anchor, learning contemplation etc. A few realistic paintings for money. Some non-objective drawing. In the fall of 2013 I became re-drawn to painting. Painting is my path to the awareness of the here and now, and to minimizing ego. Using 12” x 16” canvas board, starting with the color field painters popular when I was in New York, I sought a stile. About 50 paintings later, I arrived painting much as I was in the late 80s and early 90s, using the brush stroke as foundation to my painting. And I felt comfortable in painting larger. (48” x 64”) Thought I upped the size four, I only doubled the brush from 6 to 12, and indeed, I am now painting the 48” x 64” with size 6 brushes.

High Summer
High Summer
  • 64 x 48 x 1.5 in
  • $5,000.00
“Summer Solstice"
“Summer Solstice"
  • 64 x 48 x 1.5 in
  • $5,000.00
Suzi's Step
Suzi's Step
  • 64 x 48 x 1.5 in
  • $5,000.00
To and Fro
To and Fro
  • 64 x 48 x 1.5 in
Aufhebung.
Aufhebung.
  • 64 x 48 x 1.5 in
Black Lines on a Plane
Black Lines on a Plane
  • 64 x 48 x 1.5 in
Up Tempo
Up Tempo
  • 64 x 48 x 1.5 in
Harmonic
Harmonic
  • 64 x 48 x 1.5 in
Path
Path
  • 64 x 48 x 1.5 in
In Harmonics to Intent
In Harmonics to Intent
  • 64 x 48 x 0 in
Allegro
Allegro
  • 64 x 48 x 1.5 in
Co #4
Co #4
  • 64 x 48 x 1.5 in
Thesis in Square
Thesis in Square
  • 64 x 64 x 1.5 in
Antithesis in Blue
Antithesis in Blue
  • 64 x 48 x 1.5 in