Contemporary Art | Chris Flodberg

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Samurai 2019 oab 36x36 web Double image catharsis 48x48 oil on canvas Palliser parkade winter oc 48x48 web Sentry 2019 oab 40x40 web Interface 2019 oab 36x36 web Brutalist painting 1 acrylic oil on wood 2019 48x48 web Brutalist painting 2 acrylic oil wood 2019 48x48 web Brutalist painting 3 2019 acrylic oilon board 48x48 Brutalist painting 4 oil and acrylic on wood 48x48  2019 web Brutalist painting 5 oiland acrlyic on wood 2019 48x48 web Brutalist painting 6 oil and acrylic on wood 2019 48x48 web Brutalist painting 7 2019 oil acrylic on wood 48x48 web Portrait with candles and belt ob 27x16 web Portrait with purse scraps and av cables ob 23x16 web Portrait with boot and rope  size 18nhalfx12 2018oilboard Portrait with viel and pink key chain ob 30x24 web Brutalist painting 8 2019 oil and acrylic on wood 48x48 web

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Technique: oil and acrylic on wood

Dimensions: 48x40 in.

Price: $5,375 Cdn.

At a glance, my career could be described thus far in terms of realism or traditional in approach and intent. Few people who follow my career realize that there has never been a time in my life where I wasn't thinking about or actively engaged in making non-representational work. Little of that work has survived or has ever been shown. For me, non-representational work presents the most difficult and perplexing creative problem. This recent series is very much about reducing things down to essential and rudimentary variables. Limiting as opposed to saturating the painting with information. I'm looking for something that is modest rather than bombastic, quiet and peaceful as opposed to loud and energetic. I think about the stolid, severe forms of mid-century Brutalist architecture, Japanese wabi-sabi design philosophy, natural textures, bas-relief sculpture, stone, ancient artifacts, patina, and notions of minimalism and contemplative aesthetics. I think of these paintings more as objects. I say this because the painting aspect is secondary to the textural aspect. The pictures begin as three dimensional, low relief forms made of heavy mediums to which paint is added in a way that has less to do with the act of painting as we often think of it, but more as a process of enhancing and building on what is below. Paint is added, sanded off, wiped, scraped, dissolved, rubbed-on, buffed-off, and manipulated in and around the textures with the explicit aim of bringing the textural aspect to life in much the same way that a sculptor would add patina to an object. The painting is finished when it feels whole, consistent, singular, warm, inviting, and activated as pure form. I'm trying to make objects that feel touched and weathered. Things that conjure up feelings that one might have when looking at an old wall in an ancient city, or a mysterious object in a museum. In the end, these paintings are slow experiences that must gestate over time. They speak softly and kindly to the viewer, and hopefully encourage introspection, calmness, and deeper, contemplative states of mind.

About the Artist

Chris Flodberg was born and raised in Calgary, Alberta. After completing his BFA at the Alberta College of Art and Design, he went on to pursue an MFA in painting at the University of Alberta. Chris taught painting and drawing at the U of A both during and after his degree and was later hired-on at ACAD where he was a drawing and painting instructor. Chris now lives, paints, and exhibits full-time in Calgary.
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