Composition V4
Jonathan McFadden
Painting - 36 x 25 x 0.4 cm Painting - 14.2 x 9.8 x 0.2 inch
CHF 781
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Of Course You Did,
2016
Jonathan McFadden
Print : photo etching
45 x 31 cm 17.7 x 12.2 inch
CHF 879
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About the artwork
Type
Numbered and limited to 5 copies
1 copy available
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
45 x 31 cm 17.7 x 12.2 inch Height x Width x Depth
Support
Framing
Black wood frame with glass
Artwork dimensions including frame
80 x 60 cm 31.5 x 23.6 inch
Tags
Artwork sold in perfect condition
Artwork location: France
This artwork is a compelling triptych that exudes a raw, visceral energy through its monochromatic palette. The piece consists of three closely framed photographic panels, each focusing on the same subject – an individual's mouth and moustache. The meticulous composition and repetition create a hypnotic rhythm, drawing the viewer's attention to the subtle, yet powerful, changes between the frames. In the first panel, the subject’s lips are closely pressed together, illuminated by stark lighting that highlights the texture of the moustache and the beard’s stubble. The choice of black and white enhances the graphic quality, focusing the viewer’s gaze on the tonal contrasts and intricate details. The second panel introduces an element of motion; a small cigarette is placed between the lips. The slight parting of the mouth and the curling smoke suggest an act frozen in time, evoking a sense of anticipation and tension. This frame brings a narrative depth and suggests a glimpse into a momentary pause or a contemplative state. The triptych concludes with the third frame, returning to the original stillness but with a subtle difference – the cigarette now extinguished, leaving the lips slightly parted and the moustache pristine but with a trace of lingering smoke. The transition from one frame to another implies a story of fleeting moments and changing states, capturing the ephemeral nature of human gesture and habit. By focusing on such an intimate and specific part of the human face, the artist invites the audience to contemplate the mundanity and significance of everyday actions. The close-up perspective strips away any context, emphasizing the abstract beauty of form and texture, while simultaneously provoking curious engagement with the underlying narrative. This artwork stands out for its minimalist yet profound exploration of time, habit, and the silent stories told by minute details. Its assertive composition and evocative subject matter make it an unforgettable piece that commands both attention and introspection.
45 x 31 cm image, paper size: 76 x 56 cm
About the seller
Redsheep Gallery • France
Artsper seller since 2018
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Composition V3.5
Jonathan McFadden
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Presentation
Jonathan McFadden recieved his MFA in Printmaking from Edinburgh College of Art (U.K.) in 2009, and his BFA in Printmaking and BA in French in 2006 from Texas State University- San Marcos.
Jonathan Has exhibited in two doezen states throughout the U.S. and a dozen countries including at the National Gallery of Scotland, Royal Scottish Academy, University of Texas- San Antonio, University of Wisconsin- Madison, University of Minnesota, 621 Gallery, Highpoint Center For Printmaking, Wichita State University, Millsaps College, 55 Limited, and Inner Mongolia University to name a few.
His numerous residencies include Anchor Graphics at Columbia College, 55 Limited, a Jerome Residency at Highpoint Center For Printmaking, The Prairie Center of The Arts, John David Mooney Foundation, and Cove Park. He has tought at Houston Community College, Minnesota State University- Mankato and is currently an Assistant Professor of Print Media in the School of Art & Visual Studies at the University of Kentucky.
Artist Statement
My work is centered on connections, be it between imagery, text, found and mass-produced objects I seek to create narrative contingencies by linking information. This information is largely taken from and influenced by social media posts, cell phone photography, online advertising, to name a few. From the sourced information look for connections between the objects and information seeking out what is real and a facsimile. This may include a cctv camera streaming an image of a fake houseplant on a mass-produced shelf that hold both an original print and a object that utilized the documentation of that print. I seek then to create a dialogue with the viewer about the value of objects and their hierarchy when placed together and in conjunction with the seemingly ephemeral nature of social media linguistics.
I am interested how we interact with, interpret and process fragments of personal narratives of people we have loose associations with yet have found ourselves a voyeur in the personal moments of their life. While this could be considered ephemeral imagery because it only is in our feeds temporarily these digital images have a permanence and history that exists beyond the few seconds we view them on our computers or phones. By utilizing this information for object creation the ephemeral take on a static permanence altering how the information is consumed and allows the viewer to engage in new dialogues with the work.
Read more
Jonathan Has exhibited in two doezen states throughout the U.S. and a dozen countries including at the National Gallery of Scotland, Royal Scottish Academy, University of Texas- San Antonio, University of Wisconsin- Madison, University of Minnesota, 621 Gallery, Highpoint Center For Printmaking, Wichita State University, Millsaps College, 55 Limited, and Inner Mongolia University to name a few.
His numerous residencies include Anchor Graphics at Columbia College, 55 Limited, a Jerome Residency at Highpoint Center For Printmaking, The Prairie Center of The Arts, John David Mooney Foundation, and Cove Park. He has tought at Houston Community College, Minnesota State University- Mankato and is currently an Assistant Professor of Print Media in the School of Art & Visual Studies at the University of Kentucky.
Artist Statement
My work is centered on connections, be it between imagery, text, found and mass-produced objects I seek to create narrative contingencies by linking information. This information is largely taken from and influenced by social media posts, cell phone photography, online advertising, to name a few. From the sourced information look for connections between the objects and information seeking out what is real and a facsimile. This may include a cctv camera streaming an image of a fake houseplant on a mass-produced shelf that hold both an original print and a object that utilized the documentation of that print. I seek then to create a dialogue with the viewer about the value of objects and their hierarchy when placed together and in conjunction with the seemingly ephemeral nature of social media linguistics.
I am interested how we interact with, interpret and process fragments of personal narratives of people we have loose associations with yet have found ourselves a voyeur in the personal moments of their life. While this could be considered ephemeral imagery because it only is in our feeds temporarily these digital images have a permanence and history that exists beyond the few seconds we view them on our computers or phones. By utilizing this information for object creation the ephemeral take on a static permanence altering how the information is consumed and allows the viewer to engage in new dialogues with the work.
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