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Current Paintings: 2017-2020
SEEKING QUESTIONS TO LIFE'S BIG ANSWERS

When I painted landscape imagery and the constructed environment years ago, I liked to talk about formal concerns: painting as map or diary or arena linking visual and verbal, conceptual and material, fact and fiction, abstraction and representation; not to mention a blend of styles and a viewer building bridges between disparate ideas. While all this remains true, with the paintings today I would say that, given how many images we are all bombarded with every day via the media, I am simply interested in making memorable ones.

The figure has taken center stage since the early 2000's, and there are perhaps four different levels on which one can consider the work: 1) on the beauty level, by which I mean the combination of painting media (watercolor, oil, ink) and styles (abstraction, representation) in a complementary tension that augments the imagery involved; 2) on a political level, in that my goal with the guys who dominate the images and constitute my muse is to populate an art world with them-- an art world where the female image, nude or otherwise, is about as normal as a burger and fries, while the male image continues to be considered, by some, suspect, and is thus in short supply; 3) on the textual level, presenting titles that can be read in varying ways and short stories that are written before or after the images come along, but in any case are springboards for the reader's imagination; and 4) on the transcendent level, an attempt to depict a thoughtful, if not vulnerable, Everyman, reaching beyond the fleeting surface idealization associated with youth and hopefully going far in terms of metaphor, poking around such timeless ideas as: truth, beauty, faith, time, the infinite, what we learn and what we know.

It may seem questionable indeed these days to even concern myself with such unanswerables, but in an era when political and spiritual leaders assert that they in fact have the answers for us all, I think that art has the capacity to imagine otherwise, to offer some transcendent spark to bridge the gap between intent and form, between idea and the evidence of our lives. Muse indeed.

Note: At times my focus is on paper works in series, for instance the MUSE/MUSEUM watercolors and TATTOO DETOUR drawings from Honolulu. Therefore, select images from these series have been incorporated onto this page along with the "usual" canvases. More images from these series can be found on their dedicated pages.  


PALACE

LA PARED, NOGALES

FOUR BRIDGES (Study)

COMPANY (Series)

LA LUCHA (THE FIGHT)

 

WHAT I PAINT AND WHY I PAINT IT 

LA FRONTERA (OR IS IT?)

 



SERIES: MUSE / MUSEUM
ALL YEARS

  

DO THE MATH

CROSSING BY MOONLIGHT

 

SHIP OF COOLS

   

THE DRAWING ROOM

   

YOU NEAR NEW YEAR

 

CACTUSHEAD:
AS WE HAVE BEEN TRAINED

  

THAT STORY ONLY YOU COULD TELL
 

 

REEL-TO-REEL


STOPPING BY WOODS ON A SNOWY EVENING

 

THE ARCTIC-PACIFIC DIVIDE


EL TEMOR (THE FEAR)

 

ROWING, NOT DRIFTING (2)

BACK OF THE YARDS
(SANDBURG'S BOY)

SOLILOQUY

 

LINE QUALITY

 

THE SALMON LADDER

 
 

THE CONTAINER SHIP

MAURICIO

THE NAMES MAY CHANGE...

SOME BLUFFS ABOVE DUBUQUE

OCTOBER

REACH 1 (PIER)


ON THIS DATE IN HISTORY

SOLD

 

REACH 4 (SEAGULL)

 

TOMORROW AGAIN

THE TRUE CROSS (Study)

 


HIGHROAD

Permanent Collection
University of Maine Museum of Art, Bangor

 

LANDING


IOWA: THE AFFECTIONS OF HER PEOPLE,
LIKE THE RIVERS OF HER BORDERS,
FLOW TO AN INSEPARABLE UNION

Permanent Collection
University of Northern Iowa Gallery of Art

  

COUNTERACT

 

O CANADA

 

JOKE

YOUNG MAN FROM THE KO'OLAU'S

AHA

 

LIST 1 (BOOK OF THE MONTH)

  

REACH 7 (PENPALS)


MAN IN MOON, MOON IN MAN
(VAULT)

SUSURRO (WHISPER)

REACH 5 (BEER)


KEEP
(TO BE PROMISCUOUS IN THOUGHT)


REACH 3 (BOOK)

Sold

FIRST DRAFT


 

LATEST NEWS
(IF WORDS COULD TALK)

REACH 6 (SLEEP)

WHAT ARE THEY REALLY SAYING?

 

FATHOM

 

COAT

REACH 2 (PALLET)

FOREVER

WRING

 

GRANT WOOD SEZ TO WORLD: COME OUT FIGHTING

TWAIN

LEDGER (DAY ONE)

THE WALL , NOGALES
(LA PARED)

 

THE OBERDICK HOUSE

 

ALL KINDS OF THEORY

 

REUNION


UNTITLED (BEAR)


BACK THERE

Sold

 

 

CHECKERED PASSED (TIED)





I CAN THE AL-CAN

SEVEN SEAS

 

RAINBOW

LIGHTS OUT

 

FORT HONOLULU 1




RETURN_AL

  

FORT HONOLULU 2

SWITCHBACK

FORT HONOLULU 4 (Bull)

 

POET'S HOLIDAY

 
 

THE BIG HORIZON

  

FORT HONOLULU 3

 

ON THE TABLE

OPEN SEASON


 

THE BOY FROM MOOSE JAW
ARRIVES AT WAIKIKI

 

CHASM

 

 

THE BOXER SONATA
(A Choreographic Proposal)

LAKE EFFECT

  

EL RIO

 

HIGH PLANES PLAINS

 

THE FROST RAILING (Study)

CASCADE (PENMANSHIP)

THIS MUST BE AMERICA


  

MI TIERRA
(Self Portrait as Jared)

 

D-ICE
(DOUBLE SELF-PORTRAIT)

FLOOR TO CEILING

OUR TATTOO

 

THE LANDSCAPE AS FEMALE

 

DO YOUR BEST

 

YOU MAY BEGIN YOUR
ANSWERS HERE

 

ONE IF BY LAND, TWO
IF BY SEA (SAFE)

 

HOMECOMING


INTERMISSION
(THE LOST WAX AND FOUND)


EDITOR'S LETT_R

 

L--IF--E

TRANSFER

 


JOIN

THUS DID WE BUILD OUR SUMMER

 

MOM

Collection, 21C Museum, Louisville, KY

  

AND HERE WE ARE

 

THE BIGGER PICTURE
A.K.A. THE RIVER

 

THANK YOU FOR YOUR
THOUSAND WORDS

POOL  (HONOLULU)

 

TEST

 

CHRISTINA'S WORLD
(THE DAY I MET ANDREW WYETH)

 

SHORE
Collection, 21C Museum, Louisville, KY

 

THE GOOD FIGHT (2)

KIRK (THIS ONE)

 

SLAPSHOT (EVERY SUNSET)

 

WE'VE COME TO TAKE YOU HOME

 

PORTAGE

CENTRAL PARK STUDY

 

PAUL BUNYAN:
BESTING THE MYTH



UNTITLED #1526 (in progress)

 

OUT ON A LIMB


 

REARVIEW

NESSUN DORMA

EL MUNDO PEQUENO
Sold

 

 

re:COVER

 

BOB HOWE WANTED TO PAINT STORIES
(FOR ROBERT CHARLES HOWE, 1954-2002)

 

THE PASSING OF THE WEST


AND TO ALL A GOOD NIGHT
(MONDAY)

ANCHORAGE

 

 

YOUNG BLADES ATOP MT. MARSDEN
(FOR MARSDEN HARTLEY)

Collection, Bates College Museum of Art
Lewiston, Maine

 

SAFETY GLASS



AND TO ALL A GOOD NIGHT
(WEDNESDAY) (DEER)

Sold


  

ADDING TWELVE FEET
TO KATAHDIN (Study)

Collection, Bates College Museum of Art
Lewiston, Maine


THE VETERAN IN A NEW FIELD

 

AND TO ALL A GOOD NIGHT
(TUESDAY)

THE GREATER MOOSE


 

MI CASA ES SU CASA
(Study)


 

KEEPER

SIGN

WE PAUSE FOR AUTOBIOGRAPHY



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