08.03.2016
 


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Don Eddy

Flght in summer II
Land tears

Several years ago I was reading a novel titled The Historian when I encountered a passage that seemed to come from the same set of insights that are at the foundation of my current work. The central male character in the novel talks about taking a train from Istanbul to Budapest in the early 1900s. He reflects on how the landscape and culture change as the the train moves north. He marvels that 'the landscape itself seemed saturated with history'. I was struck by that observation and mesmerized by the word 'saturated'. It occurred to me that those few sentences in the novel captured a small piece of a larger experience. It is not just that 'the landscape is saturated in history', but more globally every place is saturated with every other place. Every time is saturated with every other time. Every thing is saturated with every other thing. Further, one can sense place infused not with just one moment in time and history, but saturated with Time itself. Place, Time, and Phenomena, become living dynamic entities of which any place, time or phenomena is only a localized instance.
Something like this is at the heart of my current work. My experience is that every place, time, and thing seem to echo the heartbeat (even the heartbreak) of every other place, time and thing. Every place summons up the ghosts of each and every instance of history in that and other places. The world abounds in 'echo structures', never issuing one sound, but a wealth of echoes through time, place, and phenomena. And any moment in time seems like a small and contained room in which the floor and ceiling have dropped away revealing Everything echoing Everything: Past, Present, and Future. My current work grows out of these insights. It is a celebration of Ontological mystery.

Don Eddy


Pendant une courte période , le travail de Don Eddy pouvait être assimilé à de l'hyperréalisme classique. Au cours des années 70, il s'est démarqué adoptant une démarche singulière et originale.
L'utilisation de l'aérographe et de couleurs particulières lui permettent d'obtenir un effet presque pointilliste.
Tout en continuant à travailler à partir de photos, Don Eddy dans les années 80, a expérimenté des juxtapositions d'images complexes . Celles-ci sont individuellement traitées de manière hyperréaliste mais sont déplacées dans un univers ou la pesanteur n'a plus cours.
Plus récemment Don Eddy est revenu vers un style plus traditionnel en représentant des paysages ou des nature-mortes souvent au travers d'étranges diptyques ou triptyques.
Un travail exhaustif de Virginia Anne Bonito a été consacré à son œuvre aux multiples facettes.

 


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