Jeremy Geddes

The White Cosmonaut, Oil on Board, 2009

New Zealand born artist Jeremy Geddes uses oil paint to produce highly detailed imagery, most of which is humming with dystopian, verging on post-apocalyptic undertones. Geddes’ work at times reads like transgressive fiction, its subjects engaged in transcendence that is only ever achieved by way of extreme measures, from self-harm (both blatant and reluctant) right through to awe-inspiring violations of Newtonian physics. Each work is meticulously rendered beginning with a series of small studies, eventually becoming the final sketch, which is then tonally mapped using ink. Oils are then introduced, in a broad sweep of all forms, before the work is reconciled by way of glazes, which where necessary modify colour relationships, exaggerate atmospheric depth, and unify disparate imagery.

The Kyoto Protocol, Oil on Canvas,  2007

Geddes’ earlier work, often bathed in urinary yellow-verging-on-green light is in stark contrast to the cool blue hues that dominate later works. The artist’s decision to strive for the technical ability that would facilitate faithful representations of light’s relationship to form has resulted in work that almost denies evidence of the brush’s presence. Consequently, these works serve as testament to a mastery of medium, in addition to being rich in complex, ambiguous narrative. This in no way amounts to a claim of inferiority concerning work preceding these technical marvels. The style and hues of Geddes’ early work ‘betray’ the images as oil paintings, adding a textural element, and providing insight as to how they were produced. It is my intent to produce images in acrylic paint, which faithfully represent light’s relationship to form, whilst being recognisable as paintings, simultaneously celebrating the medium, and creating rich, complex narratives informed by highly conceptual thinking.

Some interesting interviews can be found here, and here.