John DeMarco

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Incantation of the Sun, 2012 Oil On Canvas 24" X 24" © 2012, John DeMarco
Aqua Vitae, 2010 Oil On Canvas 24" X 24" © 2010, John DeMarco
Autogeny, 2011 Oil On Canvas 40" X 40" © 2011, John DeMarco
Botanica, 2011 Oil On Linen 18" X 24" © 2011, John DeMarco
Mundus Imaginalis, 2011 Oil On Canvas 40" X 40" © 2011, John DeMarco
Everything to Say and Nothing to Prove, 2011 Oil On Canvas 40" X 40" © 2011, John DeMarco
Luminous Threshold, 1997 Oil On Gessoed Museum Mount 14" X 11" © 1997, JohnDeMarco
Loosen the Knot of Time, 2001 Oil On Board 48" X 33" © 2001, John DeMarco
Infinity Emerges, 2012 Graphite On Paper 22" X 30" © 2012, JohnDeMarco
Aesthesis, 2011 Oil On Canvas 48" X 48" © 2011, John DeMarco
Nature's Navel, 2012 Conté Crayon, Charcoal And Gouache On Paper 22" X 30" © 2012, JohnDeMarco
Resonant Wave, 2011 Oil On Canvas 24" X 24" © 2011, JohnDeMarco
Janus², 2001 Colored Pencil On Paper 30" X 22" © 2001, JohnDeMarco
Primordial, 2010 Oil On Canvas 24" X 24" © 2010, John DeMarco
Blue Moon, Liquid Night, 1999 Oil On Canvas 28" X 22" © 1999, John DeMarco
Quick Facts
Philadelphia, PA
Birth year
mandalas mixed-media, conceptual

I’ve been painting since the age of thirteen, mostly in oil, although I’ve developed several mixed media techniques over the forty years since then as well. I also still enjoy working with graphite and other drawing media from time to time.

Through high school until the time I left the Philadelphia College of Art my main interest was surrealism – probably a natural outcome of becoming more aware of the presence and workings of the unconscious. After art school I took a few years off from painting to pursue interests in contemporary music. When I returned to painting, it was with the intention of somehow depicting the visceral impact that the experience of music, both making it and listening to it, was having upon me. I wanted to capture a sense of what sound vibrations, rhythmic order, melodic line, counterpoint, and harmonic relationship felt like at the deeper levels of sense perception.

As the eighties progressed and I became interested in techniques of meditation, my paintings began to reflect the impact made by silence instead of the impact made by music. One thing I noticed immediately was that the landscape of sense changed considerably between music and silence; later, however, I realized that there was another kind of music embedded within the silence itself. These realizations precipitated major changes in imagery and painting style. At this point I began exploring geometric structure and mandalas.

My later work is concerned with explorations in the field of organic relationship. We inhabit an organic structure (the human body) within a larger organic structure (the immediate environment), within a larger organic structure (our planet), within a larger organic structure (our solar system), within a larger organic structure (our galaxy), within a larger organic structure (the universe). Just as there are infinities reaching outward in this manner, there are endless microcosms reaching inward to the immeasurably small. All of these fields are bound together by the same fundamental principles. We are informed of this through science as well as spiritual experience. This has led me to conclude that the more deeply and intimately we relate to the human body and its mind (our organic interface with the physical universe), and the more thoroughly we come to an understanding of what the body/mind is and how it works, the better we will also come to understand the successive cosmic structures we inhabit, and the means by which they are connected as a whole. The advancement of such knowledge – of what we are, how we function, and what our potential is in the universe – I refer to as embodiment. I portray embodiment in paintings as focused harmonic resonance within an organic matrix. In other words, life makes its own music merely by being what it is.