Napo B.

 

 
 
 

(Toronto, Ontario, Canada)

 
 
 

I am a multi-media artist whose works have been shown internationally for over 25 years. I work in a multitude of styles and mediums so much of my work defies categorization. I constantly challenge myself with any material at hand to create something unknown to the viewer or myself. A major theme of all my work is ecological, a reverence for Nature, illuminating our relationship to nature and broadening the conversation of ecology, and mythic cultural icons.  My approach to searching for meaning is essentially shamanic.

I explore personal and transpersonal themes, dreams and gender identity, confronting cultural, political, and behavioral norms. I have always worked towards inciting a gut reaction from people witnessing my work. My personal involvement in art collectives and group initiatives helps redefine ideas of individual identity in the making of art. I see art making as a social tool for exploring and stimulating cultural transformation. My explored methods of working includes interactive wireless installations operated by cell phone, site specific installation works, new media eco installations, digital portraits, miniature water colors from worldwide travels, jaw dropping androgynous oil paintings, erotic surrealist charcoal drawings, giant ants invading Toronto cultural hot spots, even building props for the Pee Wee Herman TV show!

My most current work was inspired by Walt Whitman’s poem “Eidolons”. The word itself is from the Greek, meaning an image, specter or phantom and, according to the Oxford English Dictionary (which Whitman would of course not have been using), it can have the additional meanings in English of a ”mental image” or an “insubstantial appearance”, a “false image or fallacy”. It also has the meaning of “an image of an idealized person or thing”, and is thus the origin of the word Idol. It celebrates world beyond that which we perceive directly and that which our minds comprehend. Our representations of true reality are eidolons because they are incomplete and imperfect and not, I think, because they are mere fallacies. Whitman is not saying  science is wrong, just that it only gives us part of the picture. Each painting in the exhibition is a unique entry way into a world only the viewer can furnish, their brutal appearance or blurred appearance lets the viewers imagination be transported into a disquieting inward space.

 
 
 

 
 
 

Déclaration de l’Artiste

 

Traditionnellement, les portraits peignent un sujet. Au début de cette série, j’ai nommé mes portraits : N’importe Qui, Quelqu’un, Tout Le Monde d’abord et ensuite suis allé à la recherche de sujets que je ne connaissais pas dans le monde de ma peinture.

 

LA METHODOLOGIE :

 

Roulement méditatif, Broyage insouciant, Pinceau poétique

Ces peintures sont réalisées principalement par le biais d’un système rotatif aléatoire de la peinture. J’ai taillé à la main des rouleaux d’imprimerie rotative pour créer motif répétitif. Ce style de travail, je l’appelle RGB Roll, Grind, Brush. L’action est répétée jusqu’à ce que le sujet lui-même soit révélé.

Dans ce processus quasi-chamanique de type méditatif, j’ai simplement continué à rouler des couches de peinture en utilisant des couleurs multiples à la fois jusqu’à ce qu’un visage ou une scène ressorte. À ce stage, j’ai scellé la surface avec de l’époxy. La prochaine étape était de rechercher plus de détails à l’aide d’une meule, ce qui est encore plus aléatoire et chaotique.

Le rouleau forme un espace de représentation avec un mouvement avant et arrière, la meule fait découvrir des espaces perdus avec un mouvement de gauche à droite, chaotique et insouciant. C’est un processus qui passe du statique au chaotique, une particule puis une vague.

Les sujets eux-mêmes peuvent apparaitre et se déplacer de façon insaisissable. La recherche de l’objet dans la peinture peut prendre beaucoup de temps, comme Lady RVB, qui a pris plus de trois ans.

 

RETOUR DU FANTOME DE LA MÉMOIRE ~ LE THEME :

 

Les peintures dépeignent des apparitions, des chimères, des fictions réelles, des royaumes imaginaux; rêves éveillés, des spectres, de fantasmes, souvenirs, portraits de fantômes nébuleux qui dansent entre les dimensions et significations. Dans un monde de l’imagerie hyper-réelle, elles sont la vision du monde de personnes atteintes de la cécité du visage. Ce sont des portraits d’eidolons-esprit des images de personnes vivantes.

Les titres tout simplement ont créé une ambiance pour commencer la recherche pour le sujet. Les œuvres sont intitulées avec un sous-titre qui donne un aperçu de ce qui a motivé la recherche du déroulement méditatif.

Napoléon  Brousseau

 
 
 

 
 
 

“Abe Lincoln” subtitle “Lincoln School Ghost Fence” Oil on Panel, 2011. 1.8 x 2.4

 
 
 

Eidolons by Walt Whitman

 

I met a seer,

Passing the hues and objects of the world,

The fields of art and learning, pleasure, sense,

To glean eidolons.

Put in thy chants said he,

No more the puzzling hour nor day, nor segments, parts, put in,

Put first before the rest as light for all and entrance-song of all,

That of eidolons.

Ever the dim beginning,

Ever the growth, the rounding of the circle,

Ever the summit and the merge at last, (to surely start again,)

Eidolons! eidolons!

 
 
 

“Mister Bitumen” Oil on Panel, 2011. 1.8 x 2.4 M

 
 
 

Ever the mutable,

Ever materials, changing, crumbling, re-cohering,

Ever the ateliers, the factories divine,

Issuing eidolons

 

Lo, I or you,

Or woman, man, or state, known or unknown,

We seeming solid wealth, strength, beauty build,

But really build eidolons

 

The ostent evanescent,

The substance of an artist’s mood or savan’s studies long,

Or warrior’s, martyr’s, hero’s toils,

To fashion his eidolon.

 

Of every human life,

(The units gather’d, posted, not a thought, emotion, deed, left out,)

The whole or large or small summ’d, added up,

In its eidolon.

 

The old, old urge,

Based on the ancient pinnacles, lo, newer, higher pinnacles,

From science and the modern still impell’d,

The old, old urge, eidolons.

 

The present now and here

America’s busy, teeming, intricate whirl,

Of aggregate and segregate for only thence releasing,

To-day’s eidolons.

 

These with the past,

Of vanish’d lands, of all the reigns of kings across the sea,

Old conquerors, old campaigns, old sailors’ voyages,

Joining eidolons.

 

Densities, growth, facades,

Strata of mountains, soils, rocks, giant trees,

Far-born, far-dying, living long, to leave,

Eidolons everlasting.

 

Exalte, rapt, ecstatic,

The visible but their womb of birth

Of orbic tendencies to shape and shape and shape,

The mighty earth-eidolon.

 
 
 

“Bruised Stand Up Comic”

Oil on Panel, 2011. 1.8 x 2.4 M

 
 
 

All space, all time,

(The stars, the terrible perturbations of the suns,

Swelling, collapsing, ending, serving their longer, shorter use,)

Fill’d with eidolons only.

 

The noiseless myriads,

The infinite oceans where the rivers empty,

The separate countless free identities, like eyesight,

The true realities, eidolons.

 

Not this the world,

Nor these the universes, they the universes,

Purport and end, ever the permanent life of life,

Eidolons, eidolons.

 

Beyond thy lectures learn’d professor,

Beyond thy telescope or spectroscope observer keen, beyond all mathematics,

Beyond the doctor’s surgery, anatomy, beyond the chemist with his chemistry,

The entities of entities, eidolons.

 
 
 

“Bird Man’s Last Stand”

Oil on Panel, 2011. 1.8 x 2.4 M

 
 
 

Unfix’d yet fix’d,

Ever shall be, ever have been and are,

Sweeping the present to the infinite future,

Eidolons, eidolons, eidolons.

 

The prophet and the bard,

Shall yet maintain themselves, in higher stages yet,

Shall mediate to the Modern, to Democracy, interpret yet to them,

God and eidolons.

 

And thee my soul,

Joys, ceaseless exercises, exaltations,

Thy yearning amply fed at last, prepared to meet,

Thy mates, eidolons.

 

Thy body permanent,

The body lurking there within thy body,

The only purport of the form thou art, the real I myself,

An image, an eidolon.

 

Thy very songs not in thy songs,

No special strains to sing, none for itself,

But from the whole resulting, rising at last and floating,

A round full-orb’d eidolon.

 
 
 

“Hanged Candy Man”

Oil on Panel, 2011. 1.8 x 2.4 M

 
 
 

 
 
 

Flashback ZIGZAG1980, the idea came from a dream…

 
 
 

 
 
 

 

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