“The Grand Gesture Series” 

by Nicholas M. Cain

 

There are many shapes and forms that lie within our subconscious. Growing up around these shapes, we form a connections in order to understand them, ideas of what a shape can communicate develop as we grow.  Overtime, we have developed the vocabulary that speaks throughout many cultures, these shapes speak to us, they dictate and even sometimes direct us. Conveying our feelings through mark-making, has been a constant in the human evolution. The exploration of developing new shapes has fascinated me since child hood. I would like to establish  my own, free-form shapes that evoke questions within their idiosyncrasy. How do these shapes speak among our universal language and what are they trying to say? I've explored my own mark-making for many years and through my artwork have developed my own language. 

 

Many familiar shapes are spattered around our lives to remind us of of their importance. However, some associations to these shapes begin to blend amongst the mundane, they begin to blur into our vast visual language. We have no longer learned the delicate construction that these shapes posses, their balance or beauty. They become cryptic associations. 

 

The octagon may be associated with a stop sign, attached to the shape is the color red which intern is  associated with STOP. Subsequently, this development of associations has transcended itself into a forceful action to hauling. An unsettling feeling of danger once we disobey the red octagon. If we are to blow through an imaginary wall, what debris do we leave behind? Through binding our feelings to all sorts of shapes, we have beautifully constructed the language of shape. 

 

I find comfort in exploring this language, constantly questioning what else can be created? I develop my own shapes and forms within this curiosity. In many of my paintings, one may find repetitive shapes; a pattern among the chaos. Their range of sizes can dictates their tone, while some faint application of strokes softens it’s voice. Once complete, the painting carries a repetitive conversation with itself; repeating it internally, written in my own visual language. When I paint, I take into consideration the space I'd like to fill. Almost like a lined piece of paper, I use this surface area to write one cramped and chaotic letter. Over written, unedited and with many spelling errors.

 

This is how my visual language is communicated to the audience. To the viewer, the painting may have to be deciphered. I invite the viewer to bring their eyes close enough to the artwork, so it can converse with you. Give your time to develop a conversation with the painting. It may teach you a few things. 

 

While working on a painting, I feel the direction of the piece comes to me from my understanding that when trying to communicate to a person who does not know how to read, I have to visually create the atmosphere for one to learn.

 

The Grand Gesture series was created in attempts to provide this space.