the martian messiah. 2015. digital painting. inkjet on paper. 24 x 39.5".
[View of] the psychedelicized ant. 2015. digital painting. inkjet on paper. 32 x 24"
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the ship. 2015. digital painting.
be it port or grave, every ship's a destination.
people and ideas are ships, are they not?-- each a vessel of unknown destiny.
careful what one boards
for tears of joy may be but a tributary
to a watery tomb.
aristophanes' loom. 2015. digital painting.
"let each man exercise the art he knows". --Aristophanes [446-386 bC].
Aristophanes' plays are particularly scathing in criticism of war profiteers. by the time his final play had been produced athens, greatly overextended, had been defeated in war and its empire dismantled.
Domestic Terrorists. 2015. digital rendering.
hiroshima, 1945. 2015. digital painting.
The Oracle. Digital rendering. 2015.
Wildflower. 2015 - 22 november, 2016. Digital rendering. Inkjet on paper. 32 x 24".
when i was a kid wildflowers grew at the lawn's end, at the edge of the wood
i paid them little mind back then 'cause i'd things to do and much to play
but i must have filed that image away
for i see them far more clearly today
A hobby horse in the city. 2015. digital rendering.
haunted by childhood [caesar: 1957-1978]. 2015. digital painting. inkjet on paper. 24 x 32".
a life among animals. 2015. digital rendering.
between sky and sea. 2015. digital painting.
from mussaurus to mammal to robotron to dust
between sky and sea
the world turns
the parthenon crumbles
time passes
and so will we
Icon. Digital. 2014.
For me trees have always been the most penetrating preachers.
I revere them when they live in tribes and families, in forests and groves.
And even more i revere them when they stand alone.
they are like lonely persons.
not like hermits who have stolen away out of some sort of weakness, but like great solitary men.
like beethoven, Monet and nietzsche.
They struggle with all the force of their lives for one thing only:
to build themselves according to their own laws, to build up their own form, to represent themselves.
trees have long thoughts, long-breathing and restful.
they are wiser than we. Hermann Hesse.
Becoming Angelica. May, 2014. Digital rendering, Inkjet on paper. 32 x 24".
Fallen Angel/Icarus and Angelica. May, 2014. Digital rendering, Inkjet on paper. 32 x 24".
the angry god. 2015. digital rendering. inkjet on paper. 24 x 32 ".
In the cat's mouth. 2014. digital rendering. inkjet on paper. 32 x 24".
the uncertain path of the broken. 2015. digital rendering.
Pictures of matchstick Men. 2015. Digital rendering.
revealed. 2014. digital creation: faux magazine cover.
off off-off-broadway. 2015.
life without. 2014. digital: Inkjet on paper. 24 x 24”.
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jonathan perlowsky Morrison Gallery
Jonathan Perlowsky is represented by the morrison gallery.
Above. Jonathan Perlowsky: Ophelia: (A Corpse in the Well). 2013. Lacquer on birch. 80 x 84". Image by John Kane of Silver Sun Studios, courtesy of the Morrison Gallery.
Sight (The importance of Magenta, Cyan, Red, yellow and blue). 2014.
Tonia Shoumatoff on Perlowsky's 2013 Morrison Gallery Exhibition:
Jonathan Perlowsky was a prodigy at building and painting models with hardware-store spray paint at the age of six. People marveled at his proficiency. Perlowsky’s ability to paint with skill and precision has continued through his adulthood. He captures subtle color changes in rainbow-like variations. A selection of his large, color progression-type paintings are on display at the Morrison Gallery through July 7. (Continued after a contemporaneous work, the new magik, Pictured below)
The New Magik. 2014. Digital rendering. Inkjet on paper. 32 x 24".
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Another more controlled piece, Ophelia (2013) restricts the palette to variations of blues, mauves and mahoganies, with glints of yellow applied in varied hues and widths. In spite of the lines being straight-edged, a dimensionality comes through because the grain of the birch-wood panels, which can be seen through the varnish, creates an almost column like effect on some of the bars of color.
There is also a trompe l’oeil sculpture, Sojourn (below), in variations of steel-like grays, painted to resemble a three-dimensional polyhedron. (Continued)
Sojourn. 1979. Acrylic on canvas. 68 x 160.5”.
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It is hard to say whether Perlowsky’s work looks spontaneous because he is controlled or looks controlled because he is spontaneous, but he definitely allows space to define itself, with large expanses of one color on one side of the painting, or even just the patterns of the wood grain as meditative neutral space. (Continued)
Ghosts and Divinity. 2013. Acrylic, lacquer, varnish, Iridescent powder on birch. 56 x 80". A spiritual War of the Worlds.
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Perlowsky grew up in New Milford, Connecticut among the beautiful farms of Merryall district, where his grandfather farmed. His father’s father was a blacksmith, repaired the first automobiles, grew tobacco and made his own hard cider. Perlowsky attended the Rhode Island School of Design and, briefly, wesleyan university.
After working at The Arts in Ireland magazine in Dublin for a year, he moved to New York achieving a measure of success with numerous exhibits at the Westbroadway gallery located in manhattan’s soho district (helped in no small part by the gallery's locale being adjacent to Castelli, OK Harris and Mary Boone). A sculptural painting from this era, Ship of Dreams (1981. Acrylic, oil, lacquer on bronze and silver mirror. 106" on diagonal) is illustrated below. (continued)
‘In the beginning I was very tentative about my work. I felt like an intern preparing for surgery and would carefully organize my thoughts and materials first,’ Perlowsky recounts. The years ensued have provided assurance and the freedom bred from a veteran's confidence. This exhibit demonstrates that he has mastered the art of using paint in both hard-edged and free form.
About The Author: Tonia Shoumatoff
Tonia Shoumatoff, senior reporter, has worked extensively in radio, television, film, print and events production. She produced for The Body Human series on CBS, OMNI -The New Frontier on ABC, as well as documentaries and feature films. In the Hudson Valley she co-produced the first five Amenia Peace Festivals, served as Media Specialist for Clearwater and has written articles for print that have been published in Omni, Dutchess Journal, Lapis Journal and purchased by The New York Times Magazine. Since 2004 she has been the New York Watershed Manager for the Housatonic Valley Association and has headed up many environmental stewardship projects in the Harlem Valley. She can be reached at toniashou@gmail.com.
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A Guide to this sites contents_________________________________________________________________________________________________________________
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index
This site consists of 17 pages in a scroll format.
*this very page, the homepage, contains two short stories: christmas through a mail slot and the story of luke. They appear somewhat above. It also hosts an illustrated pictorial of the beatles’ sgt. pepper’s lonely hearts club band album which follows directly.
*The two, distinct pages entitled respectively, Vampyres and the story of A Vampyre's Christmas Card* (Recommended) present the New Gothic genre vampyres and brief, related stories.
*the page entitled paintings presents work from 1975 through today.* (recommended)
*The six pages entitled Recent Paintings I - VI offer insight into the meaning of individual works.
*Infinity is a page of early, archival digital work.
*Recent Media presents the most recent reviews as well as marketing over the years.* (Recommended)
*About offers insight and biographical material.* (recommended)
*Representational, Archives, Paintings on paper and Sculptural paintings complete the site
He may be blushing... Meet Bugs in Representational:
at the menu top of this page, Click on Work.Vampyres.About.
in the pictorial 'checkerboard' of 15 boxes you see
click the Valentine's heart above representational.
you’ll find Bugs there (Don’t tell… He’s also on recent media).
View the original, life-sized painting entitled the queen of the damned (Below), among others, in the story of a vampyre's christmas card.
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Described as ‘a decisive moment in the history of Western civilisation’, The Beatles' Sgt. Pepper's Lonely Hearts Club Band (released 1 june, 1967) is widely regarded as being one of the the most significant albums ever recorded. it's illustrated, track by track, below.
sgt. pepper's lonely hearts club band___________________________________________________________________________________________________________
side one
[side one: track 01] sgt. pepper's lonely hearts club band
[00] strawberry fields forever
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Strawberry fields forever was the first track completed. it was initially intended for the album but was released as a single instead. and the beatles didn't repeat singles, even monster ones, on their albums. john lennon said this, along with help were the two most honest songs he'd written.
[side one: track 02] with a little help from my friends
[side one: track 03] lucy in the sky with diamonds [plasticine portraits]
[side one: track 04] getting better
[side one: track 05] fixing a hole
[side one: track 06] she's leaving home
[side one: track 07] being for the benefit of mr. kite
sgt. pepper's lonely hearts club band___________________________________________________________________________________________________________
side two
[side two: track 01] within you without you [lady day]
[side two: track 02] when i'm sixty-four
[side two: track 03] lovely rita (meter maid)
[side two: track 04] good morning good morning
1 - 2 - 3 - 4 - Bye! is the opening line.
[side two: track 05] sgt. pepper's lonely hearts club band (reprise)
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the penultimate track.
[side two: track 06] a day in the life
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a day in the life occupies a special place in the beatles' canon. it is considered the grandest composition of a spectacularly grand oeuvre.
according to lennon the first two verses were Prompted by the death of tara browne, a mutual friend of lennon and mcCartney’s, who died on 18 december, 1966 in a car crash. lennon credits the songs middle portion to mcCartney, as well as the iconic line 'i'd love to turn you on' which leads to the orchestral crescendo.
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Please continue to Work.Vampyres.About or recent media: menu at top of this page.
suggested pages: recent media, about and the story of a vampyre's christmas card.
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Page One of Seventeen.