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J a m i e   W i m b e r l y
Artistic Profile

Mother, mixed media on wood 36" x 48"

Biography Art Statement Resume

Biography

Painting has been in my family for a long time - three generations of men trying to express themselves through art. While I have had hundreds of hours of instruction at the Corcoran School of Art and other institutions, I learned more as a boy assisting my father and grandfather as they labored in cramped quarters, sweating and swearing, watching them as they struggled to rise above their own flaws.

I will never forget how my father would emerge from the basement to show three little children, often his only audience, his latest painting. How he earnestly would ask our opinion. I also will never forget how my grandfather would berate me one moment, goad me the next, and finally, put a paint-spattered hand around my shoulders.

I paint to hear the quiet satisfaction in my father's voice as I tell him of my latest successes - more than twenty exhibits now, the positive reviews, the increasing number of sales, and the opportunities that are arising. I paint largely because others, especially my father and grandfather, showed me how to paint, and more, to see things that others do not see.

I am driven to paint because it is one of the few ties that bind the men in my family -- and one of the few ways left for me to become my own man.

 

Art Statement: The Voyeur´s eye


Mother, mixed media
36"x48"

 

Body, mixed media
28"x24"x8"

There in night´s window
A woman bares her breast
To feed the lonely.

I woke up at 3:00 a.m. with that haiku poem in my head. And looking around at all of my work sorrounding me, individuals in isolation, anonymous and floating into the night, the poem made perfect sense.


Red Glass, mixed media 20"x12"

In my mixed media paintings, drawings and constructions, people become bodies in a constrained, confined space, lines of the body creating tension, pushing the embodiements of emotional states into the viewer´s consciousness. Holding up the nude as an icon to be revered compounds this tension, the figure affixed and hanging in a construction of found objects. The emotion displayed by the palette of the body is also to be revered, inexorably connected to the physical limitations of our short existence on Earth. That is when suffering comes in - the natural condition of our time, of all time.

In regard to the space that the figures are placed in or framed by, the urban enviroment is used to create what Thomas Merton often referred to as the desert, not a physical place but a spiritual one of solitude and reflection, a place of cleansing. In this age of prosperity, I am increasingly worried about the subsequent loss of identity and sense of belonging. I wonder about our priorities.

I believe though, that suffering can be a salvation. Art can be redemption. But it is hard, very hard sometimes, to be a whole person when viewing the world through the gaze of the voyeur´s eye. For me, my work is an attempt to share with you what I see, to share a moment together, and to speak to you.

 

 

Painting on my floor
Yet a voyeur I remain
Forever looking in.
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