Burnt Hills
2011
Polymer and dispersed pigment on foamular extruded polystyrene
81H x 42W inches
Burnt Hills
2011
Polymer and dispersed pigment on foamular extruded polystyrene
81H x 42W inches
Lake Hill
2011
Polymer and dispersed pigment on foamular extruded polystyrene
9H x 41W inches
Pigeon Lake
2011
Polymer and dispersed pigment on foamular extruded polystyrene
83H x 45W inches
Orunda
2012
polymer and dispersed pigment on aluminum
61.5Hx43.5W inches
Irantxe
2013
polymer and pigment on aluminum
72Hx46W inches
Quirpi
2015
polymer and dispersed pigment on aluminum
44Hx39W inches
Pazeh
2015
polymer and pigment mounted on aluminum
50Hx84W inches
Beothuk
2015
polymer and dispersed pigment on aluminum
45Hx37W inches
Syriac
2014
polymer and pigment on aluminum
47Hx53W inches
Merya
2014
Polymer and dispersed pigment on aluminum
49Hx40W inches
Duli
2014
Polymer and dispersed pigment on aluminum
45Hx91W inches
Kwadi
2014
Polymer and dispersed pigment on aluminum
47Hx92W inches
Tinqui-Boro
2014
polymer+dispersed pigment on aluminum
49Hx39W inches
Lule II
2014
Polymer and dispersed pigment on aluminum
55h x 47W inches
Opata
2014
polymer and dispersed pigment on aluminum
47Hx92Winches (119Hx233.5W cm)
Togoyo
2014
polymer and dispersed pigment on aluminum
68Hx43W inches (172.5Hx109 cm)
Puelche
2013
polymer and dispersed pigment on aluminum
77Hx43W inches
Cofan
2013
polymer and dispersed pigment on aluminum
84Hx41
U'wa
2013
polymer and dispersed pigment on aluminum
77Hx43W inches
Nocoman
2013
polymer and dispersed pigment on aluminum
72Hx43W inches
Orejón
2013
polymer and dispersed pigment on aluminum
78Hx44W inches
machiquenga
2013
polymer and dispersed pigment on aluminum
38Hx84W inches
Awa
2013
polymer and dispersed pigment on aluminum
48Hx96W inches
Donald Martiny
Martiny has said of his work, “My interest lies in freeing the gesture from the traditional rectangular shaped support and exploring its potential. My goal is to create work that encourages dialogue within the architectural space where it resides. The energy in the work is not directed inward but outwardly directed.”
Removing constraints of scale and the strict rectangular surface of the canvas, Puelche and Apalai, become free form concentrations of gesture. Working against the traditional preconceptions of paint, Martiny creates a work which focuses upon texture and outwardly confronts the spectator with this reality. Martiny’s tactile use of paint demands a physical relationship with the work and a haptic understanding of composition. Despite provoking and enticing our senses, particularly through that of desired physical engagement and imagined gestural movement, Martiny also questions what we classify as painting.
Often using brooms for brushes, Martiny uses a mixture of polymers and dispersed pigment. Through his early experimentations with medium, Martiny’s large works are investments of time, effort and material, some consisting of 10-15 gallons of paint. Stretched to the limits of his own physicality through their making, Martiny’s works become auto-biographical in the sense that they reflect both his personal investment and the space that surrounds the work.
Invested with human experience, Puelche and Apalai become self-portraits, a direct reflection of Martiny’s physicality at a specific time. Disassociated from any political meanings, colour further provides something both mystical, enforcing upon the viewer the heightened scale of the brush stroke, and concrete to the works.
Donald Martiny Discusses his Artwork at FWMoA from FWMoA Education on Vimeo.