JASON BERESWILL

In Bereswill’s paintings, the emphasis on landscape over human figuration gives one the sensation of being fully immersed in the greater presence of nature. The Grand Canyon paintings transport the viewer out onto location with the artist by faithfully depicting the grandeur of the geological site while capturing its emotional dimensions. The danger and angst felt in front of the seizing presence—or absence—of the vast emptiness between the billions of years of sedimentary rock formations are palpable. From the sweeping panoramic views of The Colorado to narrower scenic depictions like Tree 1, Bereswill’s Canyon paintings shine a harsh light on the reality that nature is not necessarily friendly or safe. In his more recent works, lonesome figures look as though they are lost in inward contemplation, their minds wandering someplace miles away from the present. The small silhouettes of surfers surrounded by blazing light, although physically close to one another, seem isolated in the boundless sea of Bereswill’s Surf paintings. Vivid flashes that contrast with the darkness of water accurately depict the visual experience of looking into a bright light: a temporary blindness in which glimmering patterns disrupt one’s vision. The viewer feels as though they are standing on the shore themselves, looking out at the mesmerizing reflection of the sunlight on the ocean’s surface. Ideas of sight and blindness play significant roles in Bereswill’s work, and just as the Surf paintings eloquently relay the artist’s fascination with light, his Ivy paintings exemplify his keen eye for color. Inspired by Op Art, Bereswill explores the idea of color perspective through the ivies’ evergreen foliage. He creates depth using color and tone, implying movement while guiding the viewer’s eyes around the canvas. Bereswill frees ivy, widely used for hiding unsightly man-made structures such as walls and fences, from its decorative usage and projects it into the reality of movement and life.

The title of the show, L’Appel du Vide, or “The Call of the Void,” refers to the sudden and often unanticipated urge to act spontaneously, such as jumping from a high place. Bereswill finds similarities between such morbid phenomena and the creative impulse. Whether highlighting the physical void in his Canyon paintings, the visual void in his Surf paintings, or casting ivy out of the void of adornment, Bereswill employs nature as a device allowing viewers to consider the world anew.

Press Release: Courtesy of MAKI