Menu
The New Contemporary Art Magazine

Studio Visit: Gregory Thielker’s Paintings of Roads Through Rainy Car Windows

Gregory Thielker creates paintings which combine realism and aspects of abstraction by obscuring the views of his surroundings. After studying Art History at Williams College in Massachusetts and getting his MFA in Painting at Washington University in St. Louis, he embarked on cross-country road trips and working outdoors. This is when he began his series "Under the unminding sky", which captures his trip's sights through the perspective of a rainy car windshield. Intrigued by the way rain accented and veiled the scenery in front of him, it became the model for his paintings, transforming the driver's environments in a realistic way.

Gregory Thielker creates paintings which combine realism and aspects of abstraction by obscuring the views of his surroundings. After studying Art History at Williams College in Massachusetts and getting his MFA in Painting at Washington University in St. Louis, he embarked on cross-country road trips and working outdoors. This is when he began his series “Under the unminding sky”, which captures his trip’s sights through the perspective of a rainy car windshield. Intrigued by the way rain accented and veiled the scenery in front of him, it became the model for his paintings, transforming the driver’s environments in a realistic way.

His works reveal and distort each scene through the effect of water and movement. These hyper-realistic representations of his surroundings rely on meticulous details and elements that challenge his painting skills. Aware of how colors or light range in a painting is much more limited than the human vision, Thielker compromises this through low contrast, rich textures and obscured passages. He deliberately constructs his images in order to “slow down” the eye of the observer. Working from his own photographs, he rarely creates similar images, constantly experimenting with colors, shapes, and the ways to depict them.  His unique point of view offers a feeling of safety, witnessing a storm from a protected space.

Thielker recently moved to New York after living in eastern Europe and is currently preparing a solo exhibition for Castor Gallery in New York titled “Between here and now”. Afterwards, he plans to travel to Argentina for a site-specific project, continuing to paint roads and their dynamic changes.

Meta
Share
Facebook
Reddit
Pinterest
Email
Related Articles

Telmo Miel, the artist duo consisting of Telmo Pieper and Miel Krutzmann, brings their surreal, distinct collaborative work to Thinkspace Projects with a new show. "Encounters," opening on February 1, offers several pieces created over the past year.

Chicago-based artist and illustrator Jacob van Loon's watercolor paintings present an otherworldly architecture that explodes with abstract shapes and blotches of color. While watercolor is medium that is notoriously difficult to control, van Loon manipulates it into rigid lines and precise angles. At a certain point in the painting, however, he seems to get bored with structure and begins to dismantle his careful work with expressionistic, unrestrained brushstrokes. Some of his pieces incorporate organic shapes that he renders with intricate textures that evoke cell structures or perhaps an alien plant species.
Aafter nearly two decades as a professional artist, his work retains an authenticity that many attempt, but few master. Read Clayton Schuster's interview with the artist by clicking above!
Steven Spazuk paints with the flame of his candle like the hairs of a brush, charring paper and delicately sculpting the soot with feathers, paintbrushes and other tools. His work retains the undulating quality of smoke, but certain sections are carved out with a realist precision. In his latest series, Spazuk juxtaposes birds with destructive hardware: grenades, spray cans, stove burners. Titled "Ornithocide," the series is a reaction to the heavy use of pesticides in North America and the consequential poisoning of insect-eating birds. "Since this industrial revolution, we are quite comfortable with the idea that we can poison insects to seemingly cleanse our homes and protect our crops," Spazuk wrote in his artist statement. "We collectively and conveniently avoid thinking about the impacts of these suicidal choices. How can it make sense to lace our food and dwellings with poisons? How dare we impose these deadly choices on all other forms of life?"

Subscribe to the Hi-Fructose Mailing List