Jvictor’s paintings articulate pivotal biographical transitions through the language of modernist landscape. These paintings create spaces with layers of imagined and real based on observed locations, and interplay with avatars, comfort and discomfort.

 The painter’s investigation of personal identity starts with the land. Coming from the farm himself, and to a wider implication, that might bring him home. Meanwhile the pull to discover more of the world, self-identity, in a life of musical chairs.

Sit down. Paint.

 Gesture, reflections, reoccurring loops, painting, layers of pentimenti, animation and process. Conjunctions of space and time interplay with reality, he still, moves, while the movements are still.

Bulls recur as subject, a concentration of land and vitality. Avatars? There are interiors with views onto landscapes, the sense of a foreign day, populated, unpopulated, friendship and solace.

An exploded scene of unusual melded perspectives creates reminders of cinematic invention, with multiple pocket angles, views into the night out of the cars widows and in its mirrors… the figure of death in the middle section driving onto a curving landscape reminiscent of Hockney's outlandish cubist L.A.

The French writer and cultural theorist Roland Barthes reflected on the infinite possibility of plastic and the destruction of value. Much of todays reproduction creates a strange distance between the person and experience, there is counterfeit everywhere lacking the detail of touch. Both plastic and digital.

These paintings have reminded the painter himself that he is not plastic, nor digital, and there’s no problem when the computer says no.