These recent paintings are process driven and intuitively created as a means of connecting with underlying currents and rhythms which exist among our collective consciousness.
I abstractly paint the human condition as one wherein we are swept up in a turbulent morass of interrelated processes, which range widely from sublimity to violence. These processes are proliferating at an accelerating rate as tecnological advances move us into an unprecedented era of networks, codes and virtual realities where information spreading becomes instantaneous.
My influences range from late Goya through Surrealism to a synthesis of action painting, color field expressionism and Rauschenbergian /Duchampian appropriation. I am part surrealist, part expressionist and part conceptualist.
When I make the paintings, anything can happen. I open myself up to spontaneous gesture and impulse because that energy comes from a place even I don't fully understand and yet which has immense power.
I have used a wide range of materials over the past twenty years but gravitate mostly to non toxic gel polymer which I often mix with sand and sawdust and which also works well with the inclusion of various objects into the works.
Unanswered questions are the fuel of art.
My new work, "Time Frames" presents the possibility of what I'm calling "Personal Time", and relates to the Uncertainty Principle developed in 1927 by Werner Heisenberg, which states that one cannot accurately determine the location and the velocity of an object at the same time.
Personal Time is the perceived rate or velocity of time's passing which varies according to the frequency of changes in lived experience, while collective time is the location of time according to the agreed upon measure of clocks and time zones.
These new works function as windows, which enable the viewer to look through time, and gain an enhanced perspective into the nature and proportionality of our lived experience. They begin as still photos of moving images appropriated from the television screen without pausing the film and without photo-shop.
In most cases they are shot from an angle so as to distort the image and also to include a reflection of our tableside lamp. The lamp with the zigzag shade is in the room with me at the time the shot is taken, yet often appears to be connected with the actor or the narrative in the film. The thick, lava-like paint swirls and globs represent the ongoing, and far more vast, cosmological or geologic time frame through which we can peer into these layered moments.
Richard Heinsohn 2016
For more on "Time Frames", click on: "Selected Writings"