•  Installation views - Out of Focus: Photography
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  •  Installation views - Out of Focus: Photography
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  •  Installation views - Out of Focus: Photography
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  •  Installation views - Out of Focus: Photography
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  •  Installation views - Out of Focus: Photography
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Current Exhibition
Current Exhibition
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SELECTED WORKS BY Jay Davis

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Jay Davis
I Thought You Seperated

2005

acrylic/vinyl

213 x 173 cm
I Thought You Separated and We're Going Home took shape simultaneously within Jay Davis' studio. The two works share the same lush, romantic finish attained through the exacting application of more than 50 coats of acrylic paint. As companion paintings, they also share a near-identical subject matter, laid down in opposing directions on each canvas with the use of a delicate hand-drawn stencil. Such is the subtlety, mystery even, of its layered surface that a complete grasp of the works' visual content initially eludes the viewer; only in time, and in a variety of different lights, does it teasingly reveal itself.

A large, rounded form, set behind some young bamboo saplings in the darker of the two works, dominates the painting's lower section. It seems to be some sort of root or flowerpot, the source of life from which a mass of gorgeous black and blueish leaves lick upwards like flames. Above them, barely discernible, sits an ethereal crown of foliage. In the sister image, the lighter of the two, the same bulbous form looks like a face; lower down, the clusters of black leaves left and right resemble hands, while the inverted crown beneath becomes an image of the plant-creature reflected in a glass table.
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Jay Davis
We're Going Home

2005

acrylic/vinyl

213 x 173 cm

ARTICLES

Jay davis at stefan stux
By Stephanie Cash

Young painter Jay Davis depicts scenes that seem to come from a parallel universe, disconnected from our reality yet still closely allied with it. His acrylic-on-vinyl paintings, most measuring 4 by 5 feet, have stylistic affinities with Inka Essenhigh's canvases as well as with the whimsical sculptures of Rob de Mar.

Davis's execution is precise, and his works have a surreal quality, though he borrows more from Dr. Seuss or Tim Burton films than from Dali. The paintings are typically large fields of color ranging from a bubbly grayish blue, which suggests a stormy sky, to a solid black that is both bleak and richly serene. The imagery often runs across the bottom of the field, further emphasizing the expanse above.

Davis downplays narrative in the works by minimizing his use of figures and giving them matter-of-fact descriptive titles, such as Untitled (Brick House, Interior, Snow, Squares) or Untitled (Plywood House, Inerior, Brown Object Going Through Colored Object). His imaginary landscapes are often cold and desolate, although in certain scenes a reassuring warmth is lent by improbable dwellings cobbled into the treacherous-looking rocky cliffs, jagged icy terrain or presumably precarious treetops.

Other architecturally incredible structures snake across vast chasms with no visible means of support. In some works, impossibly slender and tall brick structures--each brick crisp and discrete--meander upward from the bottom. The windows in these dwellings reveal warmly lit, homey interiors with tables, bookshelves and armchairs. Outside, on lollipop-shaped trees, snow accumulates in piles like Dairy Queen cones.

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