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CHRISTOPHER SAUNDERS

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Saunders_solidair
Solid Air, 2009 Oil on Linen 48 X 48 In. © Christopher Saunders
Csaunders_end_nov
End of November, 2007 Oil on Linen 36 X 36 In. © christopher saunders
Cedars
The Cedars, 2006 Oil on Linen 36 X 30 In. © christopher saunders
2_csaunders_concrete-and-step
Concrete and Steps, 2005 Oil on Linen 36 X 36 In. © christopher saunders
1_csaunders_in-the-carolinas-
In the Carolinas on the Road Home, 2005 Oil on Linen 36 X 30 In. © christopher saunders
Cs
Untitled (field flood), 2007 Oil on Paper 30 X 22 In. © christopher saunders
Saunders_08-05-08-1
Whitenoise no.1, 2008 Oil on Linen 24 X 18 In. © christopher saunders
Whtnse2
Whitenoise no.2, 2008 Oil on Linen 24 X 18 In. © christopher saunders
20110128091134-whtnse6
Whitenoise no. 6, 2009 Oil on Linen 24 X 18 In. © christopher saunders
Saunders-1
Field 6, 2009 Oil on Paper 30 X 22 In. © Christopher Saunders
Saunders-2
Detritus, 2008 Oil on Paper 30 X 22 In. © Christopher Saunders
Whitnoise3
Whitenoise no.3, 2008 Oil on Linen 24 X 18 In. © Christopher Saunders
Whitnoise4
Whitenoise no.4, 2008 Oil on Linen 24 X 18 In. © Christopher Saunders
Field_formation_web
Field Formation, 2007 Oil on Linen 40 X 52 In. © Christopher Saunders
Wn7
Whitenoise no.7, 2009 Oil on Linen 24 X 18 In. © christopher saunders
Wn8
Whitenoise no.8, 2009 Oil on Linen 24 X 18 In. © christopher saunders
Wn10
Whitenoise no.10, 2009 Oil on Linen 24 X 18 In. © christopher saunders
Wokeninwindows
woken in windows, 2009 Oil on Linen 40 X 50 In. © christopher saunders
20110128085714-whtnse5
Whitenoise no. 5, 2009 Oil on Linen 24 X 18 In. © Christopher Saunders
20110128085829-wn9
Whitnoise no.9, 2009 Oil on Linen 24 X 18 In. © Christopher Saunders
20111004074142-saunders_chris
Whitenoise no. 9 Oil on Linen 24" X 18"
20151012231027-img_8550
Whitenoise no. 12, 2011 Oil on Linen 24 X 18 Inches © Christopher Saunders
Sept
Quick Facts
Birthplace
Virginia
Lives in
Brooklyn
Works in
Brooklyn
Tags
cloud, color-field, plane, minimal landscape, traditional, abstract, conceptual
Statement

Artist Statement

Even as we pass through it, a landscape is already in the process of being remembered and reinvented. These artifacts, witnessed and conditioned by memory, may be appropriated for unrelated purposes within a contemporary context, reconstructed for the present. As Husserl observed in “Transcendental Aesthetics”, there is a process of observation and interaction between a symbol created in the past and the contemporary viewer, establishing an ongoing dynamic between subject and object. The re-implacement of landscape- generalized, particularized, and idealized, can summon that peculiar boundary between the iconic and the personal. Landscape can be used as a medium with which we are creatively involved, a locus for the interplay of orientation, identity, memory and the poetic possibilities of misrecognition. Its value lies in its openness, its internal dynamism, and the scope of the imaginary variations to which it lends itself.

 

My recent landscape paintings are primarily built around the cloud symbol as a depiction of event, at once internal, experiential and representational. The parameters for these events are of place rather than site and suggest the apocalyptic and contemplative sublime. The clouds depicted do not reference a specific photograph but are aggregated forms generated from a multi-source photographic index. Each cloud composition is derived from a collage method which conflates images of sky, pollution, smoke, explosions, plumes, swarms, and overexposed film. Additionally, the convention of field (plane) is employed to frame and stage these lurching deformations. Compositionally, field assumes the dual role of ground (rural and urban) and atmosphere (color and light). The image value of cloud (as event) lies within its openness, its internal dynamism, and the scope of the imaginary variations to which it lends itself. Thus field and cloud collide, collude, overlap and unfold along the horizon line of precipice. These are dramas of transition, a landscape on the move where there is no contradiction between the limitless of becoming and the singularity of the event.

 

Christopher Saunders received his BFA from Virginia Commonwealth University with a
minor in art history. In 1997, he received his MFA from the Mason Gross School of the Arts at
Rutgers University.

He has participated in group exhibitions in Beijing, Los Angeles, Berlin, Boston, Kansas
City, Miami and New York City. He is a 2010 NYFA Fellow in Painting.