about 

Purpose of painting... to Render Visible that which is Invisible. -Paul Klee

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Three Painters at Galerie Luz - the Belgo report

 

James Juron’s work is an exploration into the affects of shared
historical context and socio-political constructs that directly affect
the human condition.

Through distortion of form, we are presented with hidden motivations of the subject and the duality of human nature.
Working mostly with oils, much of his art is ethereal while breaking
down and then rebuilding the inner nature of the subject.

In this collection we see recognizable political figures such as Tony
Blair whose surrealistic grimace is juxtaposed to the smatterings of red paint which seem to insinuate the blood of those who have been directly affected by his political
policies.
In another piece we see former US president George Bush walking down a corridor with another man oblivious to the ghostly figures that line the passageway and who are howling in pain at unspoken tragedies which haunt the Bush presidency.

In another work, we see three people who come across as discarnate souls flanked by military police in the background.
A woman whose face is distorted is seated next to a TV and large cuts of meat.  Juron is playing with malleability of form and exposes
the disenfranchised behaviour of the figures presented. As with the
other works in this collection, Juron manages to expose the complexities of human nature in a modern context.

Three Painters at Galerie Luz
http://www.thebelgoreport.com/2012/08/three-painters-at-galerie-luz/
August 12, 2012
By Khoba Sysavane

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Richard Lovrich, Art Director of Proctor's Theater on James Juron's Work

A figurative painter, Juron captures much more than just the form of
his subjects, pulling back the veil on difficult, unseen truths.  In
many of the paintings realism of dress is paired with a figurative
tearing at the flesh suggesting a window into a violence wracked
truth.  In other pieces the figure is devoid of clothing entirely and
the tearing effect pulls the body as if by a tortuous wind leaving a
barely recognized form reminiscent of the works of Bacon, Arisman and of the chilling author, Clive Barker.  In Juron's skilled hands, these works deliver their brutally frank messages from the intersection of pain and beauty.

James's CARCASS works, where meat stands in for man can only be described as raw. Their integrity of composition and deftly rendered muscle and sinew beg questions of what lurks inside us all and forces us to look. As in all of his work, attraction and repulsion are at work here and lessons about the self are delivered with an adult vocabulary.

Rather than reveal truths in snapshot form, the most recent and some of the largest pieces in the show feature denizens from the artist's entire retinue of players and telling us more layered stories.  Power, politics and media infuse these works in which the perpetrators are also victims and the messages are fully formed, only in the viewers minds.  Multiple figures inhabit each canvas, their interplay and juxtaposition carrying the punch of a page from a graphic novel.

James lists his influences as Chaim Soutine, Francis Bacon, Vangogh and Edward Hopper.  Come to see this important and revelatory show and you will see even more.  James Juron's work has made a few significant turns in the past few years and they are all recorded here in this, his most comprehensive showing, opening in the Fenimore Asset Gallery at Proctors.

-Richard Lovrich, Art Director, Proctor's Theater, June, 2010.

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States of Anomie - Galerie Luz, Montreal 2012

 

The Paintings of James Juron

 

Sacrifices have been made and many have been bled on the altar of progress. The historical memories of these victims never leave the walls that have been built from these sacrifices. They remain in the non-visible space of culture. One must look deeper into that well, sewer or mineshaft, that is where it hides, the sludge that sustains power. The machine must always operate, constantly consuming, oil, blood, meat, flesh, bone and soul.  It needs these things to survive, a constant sacrifice of living things. Their must always be a scapegoat to place blame on, to hide the secrets. The sacrificed victims that have passed may not be seen however they live within our cultural space, invisible to the eyes but felt by the body.  Be suspicious of the smiling faces on flat screens.  In the search for new victims, forces of oppression and repression invade the walls of your home.  Let us not forget that it is we, the “living”, that represent the most threat to this culture driven by death and control.

These forces of oppression and repression place strain on all bodies, astral and physical.  Deformation of the figure results, creating an entirely new figure.  New Forms manifest themselves within a struggle.  A re-ordering of order occurs that deviates from the oppressive system.  The creative process helps open the doors of perception to new unforeseen territories.

 

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Beyond the Organism - Thesis Exhibition 2008

Dismantle the organism in favor of the body

Dismantle the face in favor of the head

Render visible, the invisible

The body without organs

 

A body disorganized

The de-organization of the organism

Disorder to the rational gaze

Violence upon the ready-made

 

Possibility of fact

A proposition of chaos

Opposed to figuration

Accumulated sensations

 

Forces acting on a body

Zones of indiscerniblity

Becoming animal

A catastrophic dream

 

The non-linear plane

Beyond representation

Beyond figuration

Beyond the organism

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Artist James Juron speaks about his artwork: “I would like these pieces to stand as statements that bring situations to the surface. They are not meant to be political, as in supporting a political point of view, but more so, messages that reveal repressions within our world. I don’t want to merely illustrate the world I see, but rather, make visible things that are invisible.” -2012

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I attempt to ride a line of exposition while revealing states of being. Not to define a political point of view, but to expose certain states of existence. Trying to reconnect historical remembrance of past deeds forgotten to the present conditions, I start with found images juxtaposed and let them interact on the canvas. I want to redefine their semiotic relationship. This happens through a translation of paint and deformation within the creative process. I allow the paint to uncover forces within in a given image, hoping that unforeseen possibilities of meaning will arise.

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