Ray Turner: Master of Monochrome
In Ray Turner's current exhibition, Half Naked, he explores the dualities of humanity and how we as viewers perceive portraiture that is realistic, abstracted, colorful, and monochromatic. Selectively painting three of his portraits in grisaille, Turner intentionally alters how the painted subjects are interpreted. Investigating the parallels of the "half-naked" idiom, Turner examines the unease experienced in the face of the unfamiliar and the unknown. Providing a radical new look at what happens when the color spectrum is cast aside, Turner focuses on the visual power of black, white, and everything in between.
Reducing his color palette as a way of focusing attention on the subject's features and his technique, his black and white paintings allow for experimentation of form, texture, mark making, and symbolism without the complexities of working with color. Turner's monochrome palette correlates to his devotion to line and form, while developing a complex language of pictorial cues and human expression. Visually prioritizing the brush strokes and shapes of the human face, emphasis is placed on the artistry of Turner’s rendering, rather than an immediately connection to color and their associated preconceptions.
The recurrent motif of black, white, and grays draws immediate focus to the eyes in his paintings. Well lit with focused gazes, the eyes are captivating, convincing, and deeply soulful. Serving as the focal point for each composition, the face of Turner's respective figures (Catherine, Gillette, Mary) have been sculpted by the varying viscosity of paint and the placement on the planes of the face. Almost appearing as a black and white photograph, the controlled brushwork and reduced palette provide the opportunity for stronger focus on texture and lighting, hallmarks of Turner’s practice.
Treating the negative space with texture and visible brushstrokes, the backgrounds maintain a striking, minimalistic look. Achieving depth in the background and in the figure's torsos without drawing attention away from his figures, each composition serves as an extension of Turner’s established painting style, while examining the complexities and limitations of black and white.
Confronting the viewer with re-imagined figures that are brimming with vulnerability, Ray Turner’s deliberate choice of monochrome shows masterful restraint while showcasing his command of shadow and light and his ardent comprehension of the human condition.
