artist statement

R o m a n i e l l o

Transforming Materials into Meaning

Although my new work is made to hang on a wall and is on canvas supports like those used for paintings, it also has strong sculptural characteristics. The surfaces of this work have deep furrows and are highly textured (see Figure 4). Because they have 3D qualities, they look different from various viewing angles and in different lighting situations. Some are irregular in shape. The edge of the thick painting surfaces often continue around the sides, like a lava flow.

To accomplish this I have developed new methods, tools and use of materials. One of the most important parts of my approach is to use gesso as sculptural medium. I apply it using tools that I make that resemble rakes. Once the thick gesso mixture is applied, I move around the surface with the comb-like tool to create furrows that will soon become imagery. By sprinkling dried pigments or gritty ground charcoal, sand and other materials into the gesso mixture, the image then becomes visable. The entire creative and production process has to happen in the very short “open” time that the gesso mixture is still wet.

To intensify the 3 dimensional effect I simulate natural lighting by applying the darker colored pigment to the underside of the furrow and the lighter colors to the ridge on the top side.

I had spent many years working to master oils and acrylics, but have put that aside in pursuit of what is ultimately more important to me, that being "meaning". It isn't my intention to have the exact meaning I get from a piece be universal. Even though I do steer the viewers response based on formal choices I make like color, texture, scale etc., I encourage each viewer to arrive at their own meaning.

The path to this new work has not been linear. For instance in 1997 I did a series of work in oils that had strong vertical and horizontal lines (see Figure 1). I liked the hypnotic effect brought on by the shimmering fields of line and light. In 2005 I started working with the idea of using gesso to create imagery (see Figure 3).

For years I have been interested in how human intervention affects our natural world. Watching the landscape while seated on commercial airliners heightened my awareness and my concerns. Seeing large tracks of unspoiled landscape abutting cities, suburban sprawl and industrial complexes had a profound effect on me and my work. Internet technology allowed me to collect images from spacecraft and satellites that I used as a memory jog. The moral struggle between technology and ecology is both personal and universal.

BIO

Vincent Romaniello was born in Philadelphia, Pennsylvania. He studied art and design at the Academy of Art College in San Francisco. After living and working there for 14 years Vincent moved to New York City where he concentrated his studies on painting at the School of Visual Arts and the New York Academy. He has exhibited his artwork nationally and internationally including the Biennale Internazionale dell'Arte Contemporanea, Florence, Italy; Philadelphia Museum of Art, Philadelphia, PA; Roger Smith Gallery, New York, NY; Butters Gallery Ltd., Portland OR; Bentley Projects, Phoenix, AZ and the University of Wisconsin-Stout, WI and Salisbury University MD.

Vincent has been the recipient of honors from The Pennsylvania Council on the Arts, the State Museum of Harrisburg, The Wood Turning Center, Philadelphia, PA and others. His work is in private collections around the world as well as public collections including Morgan Lewis, Philadelphia, PA and the Park Hyatt at The Bellevue in Philadelphia, PA. Vincent currently lives in the Philadelphia area.

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FIGURE 1. Black and Blue, 40x32", oil on linen, 1997

FIGURE 2. Untitled 323, detail, 12.5x19 inches, 2003

FIGURE 3. Untitled 701, detail, 48x54 inches, mixed mediums on canvas, 2005.

FIGURE 4. Untitled 736, detail, 12x24 inches, mixed mediums on canvas, 2007.

		Transforming Materials into Meaning Although my new work is made to hang on a wall and is on canvas supports like those used for paintings, it also has strong sculptural characteristics. The surfaces of this work have deep furrows and are highly textured (see Figure 4). Because they have 3D qualities, they look different from various viewing angles and in different lighting situations. Some are irregular in shape. The edge of the thick painting surfaces often continue around the sides, like a lava flow. To accomplish this I have developed new methods, tools and use of materials. One of the most important parts of my approach is to use gesso as sculptural medium. I apply it using tools that I make that resemble rakes. Once the thick gesso mixture is applied, I move around the surface with the comb-like tool to create furrows that will soon become imagery. By sprinkling dried pigments or gritty ground charcoal, sand and other materials into the gesso mixture, the image then becomes visable. The entire creative and production process has to happen in the very short “open” time that the gesso mixture is still wet. To intensify the 3 dimensional effect I simulate natural lighting by applying the darker colored pigment to the underside of the furrow and the lighter colors to the ridge on the top side. I had spent many years working to master oils and acrylics, but have put that aside in pursuit of what is ultimately more important to me, that being "meaning". It isn't my intention to have the exact meaning I get from a piece be universal. Even though I do steer the viewers response based on formal choices I make like color, texture, scale etc., I encourage each viewer to arrive at their own meaning. The path to this new work has not been linear. For instance in 1997 I did a series of work in oils that had strong vertical and horizontal lines (see Figure 1). I liked the hypnotic effect brought on by the shimmering fields of line and light. In 2005 I started working with the idea of using gesso to create imagery (see Figure 3). For years I have been interested in how human intervention affects our natural world. Watching the landscape while seated on commercial airliners heightened my awareness and my concerns. Seeing large tracks of unspoiled landscape abutting cities, suburban sprawl and industrial complexes had a profound effect on me and my work. Internet technology allowed me to collect images from spacecraft and satellites that I used as a memory jog. The moral struggle between technology and ecology is both personal and universal. BIO Vincent Romaniello was born in Philadelphia, Pennsylvania. He studied art and design at the Academy of Art College in San Francisco. After living and working there for 14 years Vincent moved to New York City where he concentrated his studies on painting at the School of Visual Arts and the New York Academy. He has exhibited his artwork nationally and internationally including the Biennale Internazionale dell'Arte Contemporanea, Florence, Italy; Philadelphia Museum of Art, Philadelphia, PA; Roger Smith Gallery, New York, NY; Butters Gallery Ltd., Portland OR; Bentley Projects, Phoenix, AZ and the University of Wisconsin-Stout, WI and Salisbury University MD. Vincent has been the recipient of honors from The Pennsylvania Council on the Arts, the State Museum of Harrisburg, The Wood Turning Center, Philadelphia, PA and others. His work is in private collections around the world as well as public collections including Morgan Lewis, Philadelphia, PA and the Park Hyatt at The Bellevue in Philadelphia, PA. Vincent currently lives in the Philadelphia area. resume \| contents

FIGURE 1. Black and Blue, 40x32", oil on linen, 1997

FIGURE 2. Untitled 323, detail, 12.5x19 inches, 2003

FIGURE 3. Untitled 701, detail, 48x54 inches, mixed mediums on canvas, 2005.

FIGURE 4. Untitled 736, detail, 12x24 inches, mixed mediums on canvas, 2007.