The simplest and yet most complex of all realities – Roy Thurston painting

In its combination of pure abstraction with the realities of the phenomenological experience Roy Thurston’s paintings are at once self-contained – only hesitantly reveal their conceptual relativity – as well as seductive – rapidly speak visually: They combine both the illusion of a mechanically perfected completion and the reality of hard physical work. Thurston, who describes himself as contradictory, unswervingly followed three decades in his own way, without conforming to the conditions: that dominate the art market. His single, coherent in itself oeuvre can be just as with the tradition of the so-called Nordic Romanticism 1 (of the bright, abstracted landscapes of the sublime by the German artist Caspar David Friedrich in the 19th century about the transcendental color field abstractions of Mark Rothko from the New York school to bring purist and at the same time but nuanced and almost mystical geometric figures of the Californian artist John McLaughlin) in connection with such utopian aspirations of the Constructivists in the Russian avant-garde or the sensualen investigations of California’s space and light artist. For Thurston as for all these artists that less formal aspects are the focus of their work (the spectrum extends from representational through to monochrome abstraction), but rather the content makes up the essentials. Regardless of the – superficially – minimalist aspect of Thurston’s works his art is regarded as a specific by content and not by the shape.
Carol S. Eliel
Los Angeles, August / September 2007

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© Ed Glendinning 2014
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