Selected Works by Bryce Hammond
Florida Migration: Railroad Worker 1939.1 - Acrylic on stretched canvas 24" x 24"
The concept behind the exhibition Exit Post Modern was conceived last spring while in Residency at Atlantic Center for the Arts under master artist Radcliffe Bailey. Before entering the program, the rich interior and exterior illusionist paintings of my standard repertoire had reached a pinnacle in development. Finding myself dissatisfied with the newer sketches and plans for more paintings on canvas, I began exploring surface variations for the paintings, using in-congruent sizes and types of wood in the framing.
Subsequently, the surface materials were changed from predictable canvas to ply wood, found and/or aged ply wood, and Plexiglas. The work began transforming into more wall object than illusion painting. With the surfaces manipulated in this manner, I was able to go inside the Plexiglas areas and manipulate a new plane for subject matter: found objects in actual space. Although further modulation of the constructed paintings discouraged implementation of linear perspective, it allowed the piece to express actual structural perspective: a new way for the viewer to plunge into space.
Expanding on this theme of modulation, simplification and structural manipulation, I began to use acrylic gel transfer with the intention of de-emphasizing the necessity of painted illusion. The paintings now investigate a new goal of presenting both emotional and historical subject matter. That is, the paintings have become documentary structures marking glimpses into whatever historic research I choose to illustrate. In Exit Postmodern, the year in the title signifies a point or various points in time. Within the paintings on canvas made before May of 2010, I have only provided glimpses into my personal history and experiences.
Exit Post Modern is about the exploration and observation of contrast between past work on canvas and the new modular objects. The separation of the work from one side of the exhibition to the other creates a confrontational dialog through subject matter, treatment of surface, dimensionality, and materials. Of course, within the bombardment of contrasts lurks the need for the public to find the underlying similarities through comparison. This need directs further examination into the common bond in all individual artists’s work: the presence of the artist’s “Hand” or fingerprint of the work’s origin. In the case of Exit Post Modern, this artist’s “Hand” is expanding into a new direction that will eventually result in a culmination of both styles of work into yet another new hybrid.