Keith M. Francis

the white paintings

coming

pacific series

the invasion

The Pacific Series, paintings capture of one of the greatest meetings of land and water

in the world. Powerful geologic forces of nature, raging seas, distorted rock formations, land slide deposits, quartz dikes, kelp and vein filled crevices converge at the Point Lobos State Natural Reserve, Carmel, California. The reserve is a natural draw to artist, hikers

and naturalist due to the constant changing environment and amazing display of mother natures power.

 

 

 

 

 

 

The Pacific Series

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2012–13

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Plaster of Paris, glue, enamel, oil and varnishes

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36 X 48 X 2 in | 914 X 1219 X 50 mm

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Painting

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DataComing_________________________________________________________________________________ July 2015_________________________________________________________________________________ Enamel Paint on concrete_________________________________________________________________________________ 48 X 84 (approx) in | 1218 X 2134 mm__________________________________________________________________________________ Paint_________________________________________________________________________________ Contemporary Art/Street ArtWhen we look at a situation from only our own perspective or experience (a homeless
man in this case), we risk assigning wrong motives or misinterpreting the feelings, actions, or reactions of others. The combination of a homeless man, his dog and a pictorial image
of Jesus, makes a very bold message for contemplation on a public wall.
 
Context___________________________________________________________________________________________________________________the white paintingscomingpacific seriesPAINTINGSSCULPTUREINSTALLATIONMIXED MEDIAPRINTSVIDEOthe invasion

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“‘The Pacific Series’ a set of oil paintings, differentiated in title only by numeral, are thickly

plastered and highly glossy, primarily in black, white, grays and the subtlest of browns. The surfaces

are purposefully pitted, taking on an organic feel, celebrating the loveliness of decay. In ‘#4,’

the surface resembles a lunar topographical map, complete with craters, valley and sea of tranquility.”

 

Don Wilkenson, Art Critic

The Standard Times

 

 

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Context

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© 2017 francis communications kfranciscom@gmail.comContemporary Artist, United States of America