ABOUT

ABOUT

Biography

Jonathan Herbert's artwork has been featured in solo and group exhibitions in galleries and cultural centers in the United States and Europe. In New York City, his work has been shown at the Nico Smith Gallery, the Frank Marino Gallery, and Madame X in Manhattan; in Brooklyn he has exhibited at the Kentler International Drawing Center, Greenpoint Gallery and plein aire paintings of his neighborhood at Farmacy. Other venues have included the Chimera Gallery in Nashua, New Hampshire and the School of the Museum of Fine Arts in Boston.

Since moving to Sarasota, FL, Herbert has been included in The WorkingTitle Inaugural Exhibition via Articles Gallery in St. Petersburg FL, and group exhibitions at the Art Center Sarasota.

In addition, Herbert's paintings and works on paper are in private and corporate collections, including those of Pfizer Inc., and Kirkland & Ellis LLP. Herbert's erotic photography has been acquired by the Kinsey Institute. Most recently, Herbert was the featured artist in the Fall 2016 issue of WorkingTitle Magazine.

Link to Résumé 


Statement

FORMATION SPECIFIC ARTIST STATEMENT

FORMATION is a series of process-based paintings that combine abstract languages of mark making while alluding to the color striations and textures of natural rock formations. Rainbows moving in rhythmic passages glide over sludge. Saturate color asserts itself in each new layer, silhouetting the beginnings of mountains, separating earth from sky. Each image hovers between surface abstraction and the illusion of landscape.

Each painting is marked with minute textural details, differences in how the paint is gathered before breaking away into craters within the paint surface. Horizontal marks pulse in peaks and valleys of varying degrees of angularity. Each painting possesses a unique topography. Holes in horizontal ribbons of paint become craters that interrupt rhythmic patterns of color. The recognizable drag of the palette knife leaves its own mark that mimics the minute in-and-out textures of earth formations shaped by the elements.

Implying great distances in obscurity, these paintings are in the process of becoming. Each painting demands a prolonged inspection: a visual excavation that must reconcile the quick human gesture with the slow erosion of the natural world.