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Artist Statement:
from DURICAart.com-
In relationships— between
lines, between colors, between
moods, between people, exists
space. From space to where the
lack thereof converges and
repeats, lies tempo. In that
sequence, in that tempo, I
depend on movement to create
works that harmonize in known
and possibly undesirable
visual frequencies. It is my
agenda to pursue the fabric of
who we are on a visual pattern
based process...
Further Information
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Artist Exhibitions:
BIOGRAPHY
1970 Born, Chicago, IL
Lives and works in Laguna
Beach, CA
EDUCATION
1992 BFA, University of
Illinois at Urbana-Champaign
SOLO EXHIBITIONS
2002 Cuttress Gallery,
Pomona, CA
Metropol, Los Angeles, CA
2001 Nethrim, Santa Monica,
CA
GROUP EXHIBITIONS
2003 “The Rat Pack”, Laguna
Museum of Art, Laguna Beach,
CA
“...
Further Information
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Collections:
Coming Soon!
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Suspended between abstraction and figuration, the paintings of Joe Durica allude to the human body, to its contours and textures, its desires and frustrations. Durica summons the body not only (or even primarily) as a pictorial form but also as a material presence or protruberence on the surface of the canvas. In works such as Call Me, 12 Untitleds, and The Intellect of Donald Sutherland, the painted canvas is marked by nipple- or navel-like extrusions. Even as we visually scan the surface of these paintings, we cannot but register their physical disturbances and eccentricities. At such moments, Durica’s art itself becomes a weirdly compelling, nearly organic physical presence.
A quite different strain of Durica’s work uses graphic imagery to address issues of personal history, desire, and conflict. In paintings and mixed-media pieces such as A Deal Gone Bad and The Attack of Wanting to Be Loved, Parts I and II, Durica combines sexual imagery with emotionally charged texts such as “My Father Was Never There For Me,” and “My Mother Is A Hurt Woman,” “Hold Me,” and “Love Me.” These works suggest the demands and disappointments intimacy (whether familial or sexual) and the unpredictable ways our past experience haunts our present reality.
Although he does not always embody his paintings in this literal way, Durica insists on the physicality of his work, whether through the material buildup of paint, the use of rope or chains as a means of suspending the work from the wall, the choice of sheet metal as ground for painting, or the fragmentation of a single work into multiple canvases of contrasting color. Even Durica at his most abstract, as in User Friendly Suprematism, still fashions his paintings into material, indeed almost sculptural, forms. Like the Suprematist movement of the early 20th century Russian Avant-Garde, Durica’s paintings compel us to reimagine the relation between our own bodies and the bodies of art.
Richard Meyer, Department of Art History,
University of Southern California, 2002
for Metropol
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