Statement / Jeffery Plansker
My work emerges from a career directing advertising and commercial films, where images are engineered to capture attention, shape desire, and circulate through culture at scale. In the studio, I re-appropriate that visual language, transforming the technologies of contemporary media—digital capture, collage, compositing, archives, and networked imagery—into material acts of painting. Like Robert Rauschenberg, I am interested in collapsing the boundaries between the vernacular image and fine art, but my source material is drawn from the accelerated image economy of the twenty-first century. Rauschenberg’s walk around the block for material is my screen grab and print from the device. The work ultimately returns to paint and pencil, where the speed and immateriality of digital culture slow into surface, gesture, and object. In this sense, the paintings share an affinity with Jasper Johns : familiar signs, mediated symbols, and commercial fragments are translated into tactile, physical experiences that ask how images acquire meaning, memory, and permanence in an age of endless reproduction. Mine is a delight in the collision between the determined order of big business and the unhinged imagination of the absurd > Credo quia absurdum.
“I paint what I want to see”
– Phillip Guston
“I just carve away anything that doesn’t look like a duck”
– Dave Brown : Decoy Maker
