Faktura Gallery presents new work by Clinton Everitte Raynor and Jacquelyn Jackson Johnston in Razterization , opens June 18, 2005 7-Midnight

Miami – May 27, 2005 – Faktura Gallery presents its third show, “ Razterization ,” featuring new large-scale paintings that focus on pushing the traditional limits of oil painting techniques and color theory. A medium that spans over five centuries, oil painting reached the height of critical interrogation over the past hundred years, as depth, materiality and construction were forced into discourses with new forms of representation in photography and digital imaging.

Jacquelyn Jackson Johnston studied art history and visual art at Columbia University, with the most famous living Twentieth century painting critics. During her studies, she struggled with locating a purpose and position for her paintings. Benjamin Buchloh once told her, “After Duchamp's “Nude Descending the Staircase” of 1912, the nude can never be painted again.” Johnston latched on to this overbearing statement, and began a series of nude self-portraits that explore the art historical expectations of passivity and sexuality. Johnston explains, “I hope to confront the viewer with a presentation of the female body that forces a reconsideration of stereotypes about the passive and sexual presentation of the female body—drawing associations from everyday media culture as well as the historical use of the female nude in centuries of European art.” She uses strong, confrontational positions in vivid colors that disintegrate to reveal the individual layers of palette knife application. Johnston references the invasive closeness so frequently used in cinema in her larger-than-life compositions, while simultaneously using the thick materiality of paint to explore the way pixels have become the norm for visual representation.

Clinton Everitte Raynor began his art career in 1993 when he received the honor of being named the Texas State Congress Youth Ambassador to Germany. A few years later, Raynor returned to Germany to study art, and has continued to study a wide variety of artistic skills that have culminated in an extraordinary ability to use many materials and techniques. The new works presented in this exhibition demonstrates his creative integration of mediums, as he uses industrial materials such as copper to create paintings through oxidation. Where Johnston focuses on the visual impact of technology, Raynor delves into the materiality of industry to explore the tradition of painting. Using images that are familiar, such as the face of George Washington on the dollar bill, or soft photographs from the early Twentieth century, Raynor explores the harshness of post-industrial life through the delicate and beautiful tradition of the brushstroke.

Installation

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