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The Aperture Series:
The Aperture series is designed to act as “an opening” into the inner world of the observer. Each piece is a different interpretation of raw energy meant to transfer a particular type of frequency into the room. Each piece is a 36″ x 48″ oil impasto on 2″ cradled panel with UV gloss varnish.
I decided to keep each piece nameless because a name implies my perspective and that detracts from the experience that I want to deliver to the viewer —it hampers the experience that each individual can reach without it; instead I decided to give one name to all the pieces and “Aperture” seemed like an accurate general description for what I wanted to achieve. The one exception is “Visions #1” which is actually part of the series I’m currently working on.
Source & Vision:
I’ve always loved the feeling that an ambiguous subject brings into being, how at a later time it produces a different experience and how different these experiences are for each person that comes to observe it through their own prism of perspective.
I believe this is the joy that comes from creating something that, while seemingly static, it’s actually in motion —a motion that originates in the perceiver. I believe this is the movement of consciousness.
This is the goal of my work: to create movement that has no anchor in time as each unique observer threads their own invisible string of consciousness into the weaving of a larger more beautiful tapestry …because… isn’t this what life is all about?
The fact is that a piece is meant to end on some wall and a wall is by definition a static object. My vision is to transform a static object into an array of possibility, to transform that wall into a metaphysical window.
Process & Medium:
I mostly work on 36″ x 48″ panels and some of the work I will be releasing next will be these panels as pieces of even larger subject. I love oil paint because it feels alive, has a great scent and you have more time to work it and rework it as you please. I use mostly palette knives because I like the immediate flat finish they deliver and, among other delights, they allow me to exert a sharp aggressive stroke.
I’ve been a graphic designer for more than 15 years and in many ways my work is similar and maybe influenced by graphic design; I mostly paint over time in layers with the exception of those times when a whole painting comes to life in one session and in some cases I use masking to create specific shapes, yet I’m always looking to a finished piece with a thick impasto texture …I love to run my hands over the gloss varnished protuberances, it feels like another level of the piece where it wants to jump out and become three dimensional…
– Epiphanio Alexander
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