MICHAEL GELLATLY
July 2010

Sharon, CT –  “My place and work is in the studio, in the kitchen, and in the bedroom. It’s forms grow out of appetites. With a buffet of pigment, rich in rings, smears, blobs, and tubular arabesques, I paint my abstractions as though a realism, and the realism, amorphic forms built from images of lingerie-clad gourds, as though an abstraction – inseparable, until the painting rises from the picture plain as a truth. Within this bilingual fabric, I often paint Turnbuckles or Coasters – geometric composites that temp a visual binding of the elements, a suggestive lock without key, that plays as mystery’s architecture. 

\”Elements of nature are taking part, not for purpose of place, but for it’s presence – that marvelous giver and taker! This is the New Landscape of good and evil, the Yin Yang of the scenic overlook, the lawlessness in the serenity of the expression, all in it’s funkiest jewelry and lack of refinement. The arena for this truth is between the intimate and the conflicting, between pigment and marking, sensations within the life of lines, the poetry inherent in viscosity of mediums, flesh and blood, and the pictoral mechanics that produce my makeup. There’s transparency involved. The realism acting as the known, while the abstraction runs allusive, while the line maps the landscape, charts the head, and runs its course.”

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