In the artist's words:
"Contemporary human life is both enriched and fragmented by the technological extensions that we've become addicted to. In the past years I've pulled together centuries of family history, vastly extended the number of people aware of my work, visually researched a multitude of sources for my images, and relied on incomprehensibly complex applications to facilitate my paintings. Simultaneously, I read far less books, spend more time with friends online than in real life, and let my subscriptions to beloved magazines lapse. The fragmented cascade of text and images that constitutes internet experience has become my everyday norm.
Over the Summer of 2013 I focused on three paintings where my subject matter derived from screwed-up iphone panorama photographs. The way the panorama mode stitches together a scene is akin to the way human vision actually works. Our eyes shift and move, and our brain has no problem weaving together a stable and unified world from the visual information it is fed. The fluidity of the iphone images visually stimulates through movement, twisting space and chopping up figures. Movement engages the viewer at a pre-conscious level, eliciting an empathetic response before language can intercede. For the last hundred years there have been enough static images and poses in painting. I want art that moves! '
About F. Scott Hess
F. Scott Hess has been described as a “New Old Master”. His narrative portraiture blends realistic scenes of everyday life with symbolic and allegorical events, humor, eroticism, and voyeurism. He begins with drawings and careful diagramming on his canvases before adding traditional oil paint or egg tempera. Hess’s works are defined by his strong brushwork, careful attention to the luminosity of flesh, and ability to capture ethereal light. Some of his paintings are reimaginings of the works of canonical masters, such as Diego Velázquez and Jean-Antoine Watteau. Recently he has begun to examine the new possibilities that technology has opened up for his art-making practice. “Over the summer of 2013 I focused on three paintings where my subject matter derived from screwed-up iPhone panorama photographs,” he explains. “The way the panorama mode stitches together a scene is akin to the way human vision actually works. Movement engages the viewer at a preconscious level, eliciting an empathetic response before language can intercede.”
American, b. 1955, Baltimore, Maryland, based in Los Angeles, California