ART Habens Art Review // Special Issue ART Habens Art Review - Special Issue #89 - Page 14

ART Habens Jack Rosenberg my intentions. Most of the new works from 2016 and after generally have a lighter and more neutral palette. This is deliberate and for no more reason other than the fact that it pleases me. My natural tendency is towards dark and black backgrounds — a la Rembrandt and van Dyck—and sometimes that is appropriate and correct for a particular image, especially one that riffs on the Old Masters. I need to be consciously aware and defiant of my “dark” predilections. The iconic Old Master images are burned so deeply into my memory and subconscious that it can be difficult to fight against that pull and go with a lighter, more “contemporary” palette. This tension— between the tones of Old Masters and my contemporary intentions—plays itself out in the process of layering a painting, and often leads to heavy impasto textures. I’m quite fond of the textural and tactile effect that is created by the layering of different effects including impastos, scumbles, and transparent glazes. There is a “peek-a-boo” effect to the under-painting and first layers, which are often then re- iterated as they become overly obliterated. There is also a dance between the layers as they appear and disappear. The deliberate integration of background and foreground (primary image) is accomplished by a non-uniform, yet cohesive mark- making process and by the effects created over time by my manner of paint handling. I absolutely consider many of the paintings to be political and/or societal commentary. Special Issue 23 4 05