shane guffogg: at the still point of the turning world - strangers of time

SCALA CONTARINI DEL BOVOLO MUSEUM, PHOTO CREDIT: VICTORIA CHAPMAN

Shane Guffogg, “At the Still Point of the Turning World - Only Through Time is Time Conquered” 2023, oil on canvas, 84 x 108 inches, (213.6 x 274.3 cm)

Shane Guffogg (photo credit Sonia Huckabay)

PRESS RELEASE 

Celebrated American artist Shane Guffogg lands in Venice this April

New exhibition opening during the Venice Biennale to showcase ongoing dialogue between the abstract artist and poet T.S. Eliot

This April, at the historic Scala Contarini del Bovolo, Venice, American Artist Shane Guffogg will present a new series of 21 paintings titled At the Still Point of the Turning World – Strangers of Time, opening during the 60th International Art Exhibition – La Biennale di Venezia 2024.

Guffogg’s latest major exhibition promises to add a splash of joy and a touch of magic to Venice’s energetic art scene this April. This unprecedented collection of work in fact represents the ongoing dialogue between the abstract artist and poet T.S. Eliot’s renowned set of poems, Four Quartets, which has inspired Guffogg to create works that explore the intersection of time, space, consciousness and transcendence.

The series of large-scale paintings explores concepts of movement, escape and migration, placing human nature as innately transitory throughout history. These themes are particularly autobiographical, as Guffogg's father immigrated to the United States in 1957 from Northern England, driven by the pursuit of the "American dream". Subsequently, Guffogg moved from the central valley of California to Los Angeles in the late 1980s, in the pursuit of artistic and cultural acceptance.

The exhibition will be split in two rooms, each inspired by a different passage from T.S. Eliot’s writing and will feature selected works that can be enhanced through augmented reality (AR). Utilizing AR and artificial intelligence, Guffogg expands the possibilities of what art can be, inviting viewers to see and think beyond the 24/7 age of information, in a meaningful and immersive way.

At the end of the first room, for example, will be the large canvas Only Through Time is Time Conquered (7 x 9 feet; 213.6 x 274.3 cm), which draws on the colours of the rich history of Venice and a painting by Tintoretto permanently exhibited in the rooms of Palazzo Contarini. The canvas will be AR-enabled, to allow viewers to experience the movement of the artist's hand in creating the work. The viewer will have a QR code to scan and then, once pointed at the painting, the AR will be activated showing the inversion of the application of colours and lines, until the painting is in its initial phase, which will then dissolve visually revealing the work by Tintoretto underneath.

Jacopo Tintoretto, Paradise, (ca. 1588 – oil on canvas, cm 154 x 350 ) photo credit: courtesy of Gioielli Nascosti dI Venezia

Guffogg’s “Only Through Time is Time Conquered” and tintoretto’s “paradise” near by

“JACOPO TINTORETTO’S 1388 OIL-ON-CANVAS PAINTING, “PARADISE,” MEASURING 154 X 380CM, IS PROMINENTLY DISPLAYED AT THE SCALA CONTARINI DEL BOVOLO IN VENICE, ITALY. IT SERVES AS A FOCAL POINT IN DIALOGUE WITH GUFFOGG’S “AT THE STILL POINT OF THE TURNING WORLD - STRANGERS OF PARADISE” EXHIBITION. MOVED BY THE PROFOUND INFLUENCE OF TINTORETTO’S WORK, GUFFOGG DECIDED TO CREATE SITE-SPECIFIC PIECES AT SCALA CONTARINI DEL BOVOLO. FOLLOWING THOROUGH CONTEMPLATION, HE OPTED TO HARMONIZE HIS COLOR PALETTE WITH THAT OF TINTORETTO’S MASTERPIECE, A DECISION THAT SUCCESSFULLY SUPPORTS THE COHESIVE THEME OF HIS EXHIBITION AT THE SAME VENUE.”

— VICTORIA CHAPMAN, STUDIO DIRECTOR, GUFFOGG STUDIO

Enamoured with Europe’s Old Masters and inspired by their techniques, Guffogg has developed his own unique style incorporating a fascination of magic, iconography and quantum physics, which perfectly matches the uniqueness of the exhibition’s setting. The iconic Scala Contarini del Bovolo, a Venetian palazzo featuring a spiralling 15th Century staircase, 28 meters high, intertwines and dialogues with the artworks seamlessly. - Midas

Neither Flesh nor Fleshless #1, 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm)

Written by Victoria Chapman (Studio Director, Guffogg Studio)

"In Four Quartets, T.S. Eliot explores themes of the present moment, the cosmic order, and coexistence, a sentiment shared by artist Shane Guffogg. Commencing in April 2023, Guffogg embarked on a creative journey, producing twenty-one paintings inspired by three stanzas from Burnt Norton, the first chapter of Eliot's work. These artworks, employing lines and colors, provide a visual examination of the exchange of thoughts across time.

Guffogg's engagement with Four Quartets commenced over three decades ago and endures, as he contemplates Eliot's exploration of the abstract interplay between life experiences and the formation of memories. Eliot's poem, written in England between 1936 and 1942, is divided into four sections, each relating to one of the classical elements: air, earth, water, and fire.

Eliot's verse, 'Be remembered; involved with past and future. Only through time is time conquered.' from Burnt Norton Section II, highlights the central theme of time's influence on human existence. Influenced by both Eastern and Western literature, including the Bhagavad Gita, Confessions of Saint Augustine, and The Divine Comedy, Eliot also drew inspiration from Beethoven's quartet, which may have influenced the poem's title and musical underpinnings. Guffogg, with his sound-to-color synesthesia, instinctively recognized this musicality, evident in his paintings. The works convey an inherent 'sound score' through their visual rhythm, offering an intuitive perception that guides the composition through the choice of lines and colors.

The exhibition's largest piece, 'Only Through Time is Time Conquered,' exudes a dynamic quality, with blue lines at its core that pulse and summon supporting red and yellow lines, infusing contrasting tones with an oceanic sense of movement. Guffogg shared his creative process, revealing a connection between sound and color: 'As I was working on the seven by nine-foot canvas, and listening to abstract-classical-orchestrated music, I noticed the presence of dissonant chords. This parallel with my paintings, especially 'Only Through Time, Time is Conquered,' where complementary colors push against each other, creates a tension akin to the unsettling notes in the music. This experience immerses me in the present moment during the painting process, disconnecting from extraneous thoughts.”

Neither Flesh nor Fleshless #2, 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm)

Neither Flesh nor Fleshless #3, 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm)

Neither Flesh nor Fleshless #4, 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm)

“Guffogg’s enduring fascination with Eliot’s Four Quartets has led to the evolution of his artwork, reflecting increasing complexity. His approach to life also mirrors this deepened connection, as he embraces fleeting moments with a sense of permanence. Using glazes, he masterfully creates the illusion of multiple light sources within his compositions. In addition, his extensive research into the techniques and materials of old masters, along with his background in publishing articles on art, results in figurative subjects transformed into abstract forms.”

The interplay between light and dark, represented by transparent veils of light and complementary colors, produces a dynamic tension within the paintings, leading the viewer into an infinite shadow of darkness while drawing them towards the light. Guffogg's work encapsulates a timeless quality, capturing the eternal moment, which resonates with Eliot's themes. It invites the viewer to engage consciously and subconsciously, seamlessly merging these aspects and revealing the essence felt rather than merely perceived.

Neither Flesh nor Fleshless #5, 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm)

Neither Flesh nor Fleshless #6, 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm)

Neither Flesh nor Fleshless #7, 2023, oil on canvas, 40 x 36 inches

Neither Flesh nor Fleshless #8, 2023, oil on canvas, 60 x 48 inches, (152.4 x 121.9 cm)

Neither Flesh nor Fleshless #9, 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm)

Neither Flesh nor Fleshless #10, 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm)

Neither Flesh nor Fleshless #11, 2023, oil on canvas, 60 x 48 inches, (152.4 x 121.9 cm)

Neither Flesh nor Fleshless #12, 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm)

Guffogg's "At the Still Point of the Turning World" series, originating from a subconscious sketch in 2009, explores his quest for inner balance and serves as an autobiographical narrative. These paintings are not self-portraits in the conventional sense but expressions of his existence, a journey through the human condition, and his relationship with time. His artistic process involves a silent, solitary exploration of his work, where thoughts become visual language. Music plays a pivotal role in his creative process, acting as a conduit to connect with the universal essence. This process, which Guffogg describes as dipping his toes into the pond of the universe on a good day, is a ritual he continues to uphold.

Guffogg's art, much like T.S. Eliot's poetry, encapsulates a profound yearning, inviting observers to experience the

authentic, providing a space to encounter time and the present. These works serve as a testament to Guffogg's need to share evidence of what it means to be alive, encompassing thoughts, emotions, love, suffering, and healing. His art, particularly in the "Neither Flesh nor Fleshless" series, is deeply autobiographical, portraying moments of existence.

The "Neither Flesh nor Fleshless" series invokes an enigmatic quality, exploring the interplay of flesh and the absence of it. Guffogg's approach involves allowing his hands to move across the canvas, making the brushes an extension of his physicality. Thin veils reminiscent of Renaissance art, particularly the translucent black veil seen in the Mona Lisa, represent the delicacy and fragility of life and the moment of transition. These paintings aim to present an unsolvable question, provoking contemplation.

Emotional and primarily red in color, with various shades of dark, earthy-red, charcoal, and smoky hues, the series delves into the convergence of spiritual and physical worlds. These works provoke contemplation of time and composition, offering a reflection on the past, present, and even the future. They express a belief system rooted in human existence, sharing intimate thoughts, sensations, and a blend of the mental and spiritual. They evoke words like "annunciation," "rapture," and "communion," prompting self-awareness and introspection.

Collectively, the series emanates an ethereal quality, while individually, each painting conveys a unique message. Gestural marks transform into ribbons or veils of light, revealing saturation and fluidity, evoking celestial elements. The series prompts a sense of longing and contemplation, exploring the boundary between order and chaos. Guffogg's work serves as a testament to truth, representing both a historical narrative and a visual and emotional experience.

Reach into the Silence #1, 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm)

In contrast to Monet's works at Giverny, Guffogg doesn't depict his garden but paints abstract moments informed by the landscape. His connection to the land and his understanding of light enables him to create a sense of depth and movement, similar to Monet's approach. Guffogg's keen perception of the environment, weather patterns, and his intimate connection with his chosen workspace contribute to the unique quality of his artwork.

Reach into the Silence #2, 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm)

Reach into the Silence #3, 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm)

Reach into the Silence #4, 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm)

Reach into the Silence #5, 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm)

This narrative delves into the intricate and profound dimensions of Guffogg's artistic process, inviting viewers to explore the intricate layers of his work and its connection to the world around him.

His artworks are not only visual expressions but also personal narratives, sharing his own story while reflecting on the profound themes found in T.S. Eliot's text. In each brushstroke, viewers can explore the interplay of line, color, and elements of space, delving into the essence of his experiences and the emotions woven into his work.

Reach into the Silence #6, 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm)

Reach into the Silence #7, 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm)

Reach into the Silence #8 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm)

Only Through Time is Time Conquered, 2023, oil on canvas, 84 x 108 inches, (213.6 x 274.3 cm)

— Burnt Norton Section II, T.S. Eliot

Since Guffogg’s first encounter with the Four Quartets, his fascination has not wavered. If anything, it has grown deeper, which is evident in the developing complexities of his paintings and can also be seen in how he lives life, taking each moment in each day as something that is fleeting but permanent. Guffogg uses glazes to paint the illusion of various light sources within the composition. He has also written and published numerous articles analyzing paintings of the old masters and reads books on artists’ materials from the past. The results are figurative subjects painted as abstract forms. There is a balanced struggle between the light and dark, yin and yang, represented through painted transparent veils of light and complementary colors, that push the illusionary picture plane further back into an infinite shadow of darkness as light pushes toward the viewer. The paintings embody a certain timelessness; capturing the eternal moment, which is the key and link to Eliot. The viewer is an integral part of the work because these paintings require an exploration that engages the conscious and subconscious, which the artist seamlessly fuses together, bridging the essence of what is felt rather than merely perceived. 

 In 2009, while listening to a public speaker and without thinking, Guffogg felt a need to sketch his subconscious. This was the beginning of the At the Still Point of the Turning World series – lines that would loop out toward the edge and back around to the center of the page as if there was a hidden gravitational force controlling his hand. It was the artist’s way of finding his own still point and inner balance. These paintings are autobiographical. They aren’t mirror images of what he looks like; eyes, face, hair, etc. Rather, they are the evidence of his existence, the exploration of the human condition, and his relationship to time. Not only are they paintings, they are a confirmation of truth. When Guffogg enters his studio, it is a silent act. The artist walks around, looking to see what his paintings are telling him. He works alone, there are no assistants. Watching him lay down the first traces of lines is quite mystical. He has said that thoughts become words, but what do our thoughts look like before they become language?  Then the music is turned on and he becomes a conduit.  As Guffogg likes to say, when he is having a good day in the studio, he gets to dip his toes into the pond of the universe.

Like Eliot’s poetry, Guffogg has instilled a certain yearning into these works. These paintings also bring a moment for the observer to experience a place to witness time and the present. I think this may be Guffogg’s need to share evidence of what it means to be alive; think, feel, love, suffer, heal. I am returning to the fact that it is autobiographical. Guffogg has said he paints moments of existence. 

[Source from VC Projects press release]

www.vcprojects.art