JAY BURTON TRACY | Paintings
blast : detail #365 (from The Ruined Sky), 2019–2020
oil- and water-soluble color, silica, bone ash, pumice, enamel, polyurethane, sand
wax, homemade walnut ink, victoria blue, varnish, studio dust on aluminum panel
8 x 10 inches | collection of the artist
wax, homemade walnut ink, victoria blue, varnish, studio dust on aluminum panel
8 x 10 inches | collection of the artist
blast : detail #362 (from The Ruined Sky), 2019–2020
oil- and water-soluble color, silica, bone ash, pumice, enamel, polyurethane, sand
wax, homemade walnut ink, victoria blue, varnish, studio dust on aluminum panel
8 x 10 inches | collection of the artist
wax, homemade walnut ink, victoria blue, varnish, studio dust on aluminum panel
8 x 10 inches | collection of the artist
blast : detail #369 (from The Ruined Sky), 2019–2020
oil- and water-soluble color, silica, bone ash, pumice, enamel, polyurethane, sand
wax, homemade walnut ink, victoria blue, varnish, studio dust on aluminum panel
8 x 10 inches | collection of the artist
wax, homemade walnut ink, victoria blue, varnish, studio dust on aluminum panel
8 x 10 inches | collection of the artist
blast : detail #363 (from The Ruined Sky), 2019–2020
oil- and water-soluble color, silica, bone ash, pumice, enamel, polyurethane, sand
wax, homemade walnut ink, victoria blue, varnish, studio dust on aluminum panel
8 x 10 inches | collection of the artist
wax, homemade walnut ink, victoria blue, varnish, studio dust on aluminum panel
8 x 10 inches | collection of the artist
these paintings (from a series of eight)
further advance my work inside the seams—
inside the push-pull of locating form in
an accretion and purposeful excavation
of compatible and incompatible, natural
and synthetic, emulsified material layers.
in these paintings, i wanted also to
explore the possibilties for asserting
a tangible sense of antiquity or the
kind of power and authority often
associated with (and granted) paintings
ten or twenty times this size. what
these small works lack in size they make
up through intentional manipulations
of scale (and scalelessness) and
an enriched visual density.
further advance my work inside the seams—
inside the push-pull of locating form in
an accretion and purposeful excavation
of compatible and incompatible, natural
and synthetic, emulsified material layers.
in these paintings, i wanted also to
explore the possibilties for asserting
a tangible sense of antiquity or the
kind of power and authority often
associated with (and granted) paintings
ten or twenty times this size. what
these small works lack in size they make
up through intentional manipulations
of scale (and scalelessness) and
an enriched visual density.
home studio (northwood, iowa)
