Artist Statement:
We ascribe many qualities to the world around us including hue, brightness , pitch and volume . They all live within the Z-space of depth, which is the distance 'IT' is from the center of the universe ..ie 'US'. But no matter where these elements actually live, Context is what gives them substance, importance and a degree of validity.
My work is an attempt at forcing multiple objects/images or ideas to coexist on the same plane while ranking individual subsections as inhabiting additional planes. Those subsections are partially arbitrary, while always following the ground rule of fracturing only when crossing another subjects contiguous territory. The objects jockey for some level of subjective control as dictated by the nature of each individual fragment. The evolutionary process is often a continuous series of revisions attempting to control my own prejudices towards the subjects and the needs of the canvas. My overarching goal is that of creating new forms and meaning from accidental constructs while maintaining a semblance of continuity around the initial forms. If you wanted a sound bite to describe the work it would be poster collage as done by monks trained in manuscript illumination
Bio
Donald W Rissler
(Born 1963) Uneventful childhood marked with sporadic bouts of non-conformity. A mutual agreement on behalf of the public school system led to over a decade of unfocused study amongst the academia of many universities. After receiving several degrees (Fine Art Painting, Art History and Computer Science) and completing requirements for many additional, he was forced into the outside world. That world involved several years of blind groping for a methodology that allowed an application of aesthetic skills while introducing complex literary and political ideas and experiences. Few levels of employment allow the freedom to create without restraint and some time was spent pursuing a state of compromise. Unfortunately, none was found satisfactory and the far too common life of the starving artist was accepted. Many mediums subjects and styles were attempted while striving for a evermore loose and expressive style. It wasn’t until realizing the futility of fighting his strengths and embracing the obsessive compulsive side, that a turning point was made. Since the epiphanal painting that coalesced the concept of “Contiguous Fractured Abstraction” it has been a struggle to prevent the temporal commitment from overwhelming the passion of intent. Due to the complexity of the work and the techniques involved, 4-6 months commitment is typical , while larger pieces can take as long as a year or more.
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