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Among the famous quotes of influential artist and teacher Hans Hofmann is: “I bring the landscape home with me.” Nature is the origin of art, Hofmann maintains, as articulated in the connection between the world-as-experienced and its expression in even the most abstract forms of line, shape, and color. The phenomenology of perception—the embodied process of seeing, its translation from retina through the brain to the hand, and from there onto canvas—is the foundation of Rick Vian’s evolution as artist.
Perception, as the French phenomenologist Maurice Merleau-Ponty notes, is an interactive process. As much as the mind is a receptor of visual phenomena, it is at the same time the organizer of it. Through his observations over the four-plus decades of his career as an artist, Vian has discerned patterns—in particular as he notes in his personal statement—of “networks that underlie and organize perception, and are inherent in the structure of the world we perceive.”
|Rick Vian, The Vastness, 1977. Oil on canvas (All images courtesy of the artist.)|
This is evident from the very beginning in works of the 1970s, such as those of the “Ellipses” and “Grid Projections” series and more obviously in the “Grid Landscapes.” In each case, the grid, rooted as it were in Vian’s observation of the growth and intertwining of tree limbs, provides an underlying structure from which patterns, shapes, and colors emerge, keyed to source inspiration in water, sky, and fauna.
How structures derived from nature find their way into the built environment can be seen in the series of abstract works completed in 1990s, many inspired by Vian’s experience as a commercial painter in industrial facilities. Spectator Sox (1999) uses colors derived from industrial code conventions for signifying things such as danger, safety hazards, and boundary demarcations, conventions that in many cases have been derived from the study of human psychology.
|Spectactor Sox, 1999.|
In these mature paintings of the 2000s, Vian most fully realizes Hofmann’s aesthetic notion of nature embodied in the artist’s very being. “The Gitche Gumee” series inspired by the sublime force of Lake Superior and landscape-derived paintings such as the magisterial Poplar Trees in Fall (2013) and Sky in the Water II (2015) are tours-de-force of the painter’s art.
Through a lifetime of observation, reflection, and response, Rick Vian has given us new ways of seeing and understanding the world.
|Poplar Trees in Fall, 2013.|