Josh Foley
LandE scape
CONTEMPORARY ART REVIEW by my cultural knowledge and background , where “ landscape painting ” as a genre is outlined and highlighted as subject matter in itself and investigated as a conceptual and cultural activity .
We like the trompe l ’ oeil that marks out your approach . It also leaves space for the spectators to replay the scenes in their own intimate lives , letting them become emotionally involved in what you are attempting to communicate . What do you think about the role of the viewer ?
The importance of the viewer to be able to walk around my works in the room where they hang can be significant as the works become activated by their movement , their proximity to the canvas and the angle of their observations and eyes . How much the work decieives or distances or upends the perceptual faultlines of an individual can give me insights into how successful a work was . This anecdotal feedback gives me more data – especially from people who don ’ t know or can ’ t understand how a work was made – as I am acutely aware of the insides of the piece I have to squint my eyes to give myself that same distance – but then you lose focus .
We would like to pose some questions about the balance established by colors and texture : we have really appreciated the vibrancy of thoughtful nuances that saturate your canvas and especially the way in Dunkelheit they suggest the idea of plasticity and even such a tactile feeling . How did you come about settling on your color palette ? In particular , do you expect the viewer to react in a specific way psychologically ?
I don ’ t have any overt expectations for the viewer – I like open ended interpretation . Colour and its use is a constantly evolving and challenging process and as alluded to is the most cosmetic and yet psychological aspect of my works . As they often begin in monochrome , deciding on a colour pallete can be nerve wracking as often I ’ m content with the grisaille image yet feel it would be too easy to leave it and so I dive into the emotinally complex world of colour .
Over these years you have exhibited extensively throughout Australia and your work is held in a number of public and private
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