rollin beamish
painting is vital to rollin’s experience of processing primarily visual information, and meditating on its effects. he chooses to paint because he sees this act as an important compromise, particularly for the craftsperson, between an absorptive engagement with the regime of images, and an affective physical manipulation of a material; essentially a mix of the strictly perceptual with the tactile visceral.
his paintings are found to be strangely specific, despite its association with the regime of images and its beautiful and unavoidable conventional foundations. the simple fact of its hands-on manipulation of materials and subtle idiosyncracies paired with this perceptual attachment makes of it a kind of body to which he can cling despite his perceptual fears of bodilessness. it can be an incredibly specific response to stimuli which seem to drift out of a void (or explosion) and it uses the same basic language! sometimes he even feels that he can use these responses to communicate a sense of possibility which can arise through the overlap and combination of any sort of cultural stimuli.
common themes to his work include: belief and the chimera, stuttering, overlap, the phenomena of expedient travel and the elimination or nullification of the local (glocalization), our bodies as related to the “landscape” of vectored communication, vectors and logistics as they relate to weapons or threat, whimsy, the absurd, and (relative) immobilization. he enjoys using several formal rhetorical devices in his images, comprised most prominently of images based on tromp l’oeil painting, comic book and cartoon illustration, transit maps, sign painting, and whatever else he can think of along the way.
for more information contact:
info@mahangallery.com
