ArtHouston lights up the summer season this July with an exhibition entitled Neo Luminism at Laura Rathe Fine Art. Steve DaLuz coined the phrase Neo Luminism as a way of describing an ethereal way of depicting light in an abstract construct. Landscape painters of the Hudson School were an early influence on this particular body of work that translates abstract landscape into light filled reality. Figurative works also convey aspects of Neo Luminism with soft glowing light,and illumination. Pauline Ziegen uses oil, ground marble dust, gold leaf and gesso, red clay, gilding, paint and glazes to capture the horizon. Growing up on a prairie Ziegen developed a sense of place that was expansive relative to landscape. Various cultures have influenced Ziegen’s work over time including the Asian art collection at the Nelson Akin Museum and religious iconography commonly viewed in New Mexico. Fascinated with gold’s natural ability to reflect light, Ziegen utilizes this precious metal to visually manipulate the surface with radiance. Both artists utilize similar materials yet Ziegen approaches landscape from a more traditional stance and DaLuz with an abstract and varied perspective.
Albert Bierstadt, Fredrick Edwin Church, and Fritz Hugh Lane, were second generation artists of the Hudson River School, a 19th Century movement in American art that was primarily comprised of realistic landscape paintings based on romanticism. Paintings were normally depicted from an aerial view illuminated with a soft glowing light that allowed the painter to hide brush strokes to create an ultra realistic portrayal. 20th century art historians described an offshoot of this type of landscape painting as “Luminism” Steve DaLuz states,” My work doesn’t rely on traditional landscape, brushwork it is not masked or hidden and I am not concerned with detail as the 19th Century landscape painters were”. DaLuz captures the ethereal glow in his work similar to what the luminists’ conveyed however not just with paint. Layers of copper, silver, or metal reflective surfaces are laid, manipulated with chemicals and several applications of sealant. Oxidation changes the patina or eats through the metal under painting; red oxide will show through unexpectedly giving some chaos to distinction and similarity. As a kid DaLuz took walks with his father, resonant remembrances of weathered surface patinas on bronze sculpture captured his attention and became the catalyst for his own creative process. Time tested trial and error yielded a basis for working that revealed reflective patinas of assorted variety, color and surface texture. An element of realism often depicted by a small figure relative to the vast nature of space can convey an ominous feeling. “Beautiful and disturbing” is how one viewer described DaLuz’s work. Sublime yet uncertain a parallel to our current paradigm shift and a pattern play of dark and light, horror and harmony, as if a change is about to occur yet with tremendous beauty. Striving for an unspoken connection with the viewer DaLuz paints with emotion to articulate images and ideas from his imagination.
In a dream DaLuz travelled to the other side of the universe piercing the veil of knowing he glimpsed from the other side. As he stepped through an ovum egg shape, he followed the brilliance of light into a realm beyond. A comparative reality sometimes reached in a dream state but other times achieved when one is so engaged in what they are doing that they lose all sense of time and space. Disappearing for a time allows an unintended spirituality to filter through the process of painting subconsciously. The result is an intangible expression of brilliance, source piercing the veil into this realm of understanding. By design the work is meant to provoke thought suggesting the viewer ask a question. Other times the dialogue between artist and creation is more of a wrestle to expression. Exploring the nature of his psyche. DaLuz will set a painting aside looking again later to revisit and revise. Eventually sometimes later than sooner a dialogue begins to emerge with some allowance a shift occurs. Over time DaLuz has become comfortable with letting go of the painting once it is complete. Creative energy is in the present about the JOY of process as the work is done. Once complete the works take on a life of their own and the process itself begins again. DaLuz says” I have never been happy with the end result there is no arrival, no perfect painting, the day there is I am done.” A tremendous amount of growth and awareness is part of the journey of doing what you love to do every day. Not to say there isn’t work involved yet when you know it is the work you are meant to do its all worthwhile. Trusting the process is a critical element, showing up again and again is conducive to being present allowing the source of light to reveal itself. Pure magic we are given glimpses of that makes the whole adventure worth the trip. Neo Luminism opens July 10th at Laura Rathe Fine Art in conjunction with ArtHouston 2010.
ArtHouston Feature:
Light Redefined as NeoLuminism
by Stacey Holzer
