paint

jongoldman12sidneystreetwoodsholema02543

http://[email protected]

goldmannew paintingsgoldmannew paintings

new worksIn terms of subject matter, I vary between a surrealist

combination of images and formalist studies of place. I

also approach the oil work with little expectations in

terms of what I am trying to depict. That way, when

something appears out of the paint, I can enhance it, and

bring it out. Listening to the paint and leaving my eye

open to possibilty is what I really look for.

The Corn Crib is an example of the more surreal, dream

like work. Most people regard it as an out house, which

only serves to underscore how removed we are from

non-developed living.. There are hidden characters, figures

and other forms in this piece. One is a faint resemblance

to the dance pioneer, Merce Cunnigham.

new works

Co

rn C

rib

52”x

48”

egg

tem

pera

with

an

oil g

roun

d on

can

vas.

(In t

he c

olle

ctio

n of

John

and

Ann

-Lei

th H

ill.)


Plein air painting is one way that I or I take reference pho-

tographs for work in the studio. I Have traveled around

the world covering in one trip about 70,000 miles from

which I culled about 10,000 images. Some of these will

always remain as photographs as their intrinsic quality as

photographs cannot be improved upon by paint. Others,

the translation into paint for me is a simple continuation

of the completion of the image and the paint whether it

is watercolor like AQUINNA (right) or an oil like The Knob.

The capturing of a “sense of place” is the core of the

undertaking and can often lead to video works for fuller

fleshing of this idea.

process

Aq

uin

na 4

8” x

30”

wat

erco

lor

on p

aper

process


I have been painting for many years now and in a variety

of media. My favorite forms are watercolor and egg-

tempera on oil or “misch” technique. This is the formal

way of painting of Breughel, and Bottecelli and requires a

paintstaking amount of time, underpainting and many eggs.

But the control one gets both with the luminance and the

brush stroke really makes this the technique I most enjoy.

As for the watercolor I often create them as a sketch and

keep many sketch books filled of ideas. Sometimes the

watercolors are the source material for an oil and is a

looser way with less steps to produce.

The dramatic views of The Knob over looking the

entrance to Quissett harbor have been an inspirational

springboard for many works.

Th

e P

ath

18”

x24

” E

gg t

empe

ra o

n bo

ard


The proclivity towards painting geological formations

like the rocky beaches of Quisset harbor, is informed by

two books. The first is a treatise of Edward O. WIlson’s

notion of consilience, the idea of the unity of knowledge

literally “jumping together” of complex adaptive systems. I

was originally trained as an Environmental artist, working

on a large scale. This led me to the biologist’s work and

to understnad the coincidental configurations of glacial

recession, for example, as recorded in the rock outcrop-

ping on Quisset harbor’s morrain known as The Knob.

The other treatise is about the complex underpinnings

of chaos theory, the “Mandelbrot set” which posits that

there is great symmetry/order in what has become known

as fractal geometry. While, this is not mathematically

derived imagery, it is inspired by the complex interplay of

surface, depth and repetition of shape, generally of beauty

in the inherent order of chaotic array.

Qu

isse

tt 4

8” x

30”

Wat

erco

lor

on p

aper


Bould

er

knob

20”

x24”

Eg

g te

mpe

ra o

n bo

ard

Th

e K

no

b20

” x2

4”

Egg

tem

pera

on

boar

d


Ge

ne 8

” x1

0” W

ater

colo

r on

pap

er

Jim

Uh

ls 2

0” x

24”b

Egg

tem

pera

on

boar

d


My

Mo

nk

ey

18”

x24”

Egg

Tem

pera

on

boar

d

co

w 8

” x1

0” W

ater

colo

r on

pap

er


ma

ny

he

ad

s

18”x

24”

ixed

med

ia o

n pa

per

Co

nsi

lie

nt

Sto

ne

se

rie

s 41

” x2

4” A

cryl

ic o

n pa

per


blu

e fi

gu

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@ 1

8” x

24”

MIx

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edia

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r

goldmannew paintingsgoldmannew paintings 978•505•5796 [email protected]

978•505•5796 [email protected]

Jon Goldman is a painter, media artist and documentary film-maker. His innovative and diverse work includes gigantic inflatable sculptures which have been exhibited in and on musuems, galleries and

buildings throughout the U.s., Japan, Korea, and Hong Kong. He has produced for Al Jazeera International’s People and Power and has also produced, written and edited numerous industrial videos, animations, has designed furniture, lighting and branding programs since the eighties.

An avid painter, working in the misch technique which com-bines egg tempera and oil, Mr. Goldman recieved his Masters in Science in Visual Studies from MIT at the Center for Advanced Visual Studies, his B.A. at Con-necticut College ( Theater) and attended Middlesex University in London, The National Theater Institute and the Pennsylvania Academy of Fine Arts.

Jon Goldman has won many awards including an InterArtsw grant fromt he NEA and the Rockefeller Foundation for his computer controlled intereactivity with inflatable sculpture.

Goldman currently runs his studio, THOUGHT BALLOON MEDIA, which serves as a laboratory for the development and exhibition of new work. His work is in many collections including the Smithsonian’s Cooper Hewitt National Museum of Design’s permanent collection.

infl

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mp

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gigantic inflatable sculptures

gigantic inflatable sculptures

http://thoughtballoonmedia/ww.mov

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