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John Stuart Gibson

American, b. 1958

John Stuart Gibson
(American, b. 1958)

"3 Striped, Santa Fe", 2000

oil on wood panel
signed and dated en verso, with "Gerald Peters Gallery, Santa Fe, New Mexico" label.
Unframed.
60" x 58"

Provenance: Gerald Peters Gallery, Santa Fe, New Mexico; Estate of Nancy R. Morrison, Houston, Texas.

Notes: "Although I have painted balls exclusively for over 25 years, I don't really care that much about them. Of course I'm attracted to them just like anybody else; I admire their endlessness and mystery. I love the way they can stand in for all sorts of unknowns and even the way a circle, or a shape of some kind sits on the surface of a ball and bends into space. But I don't paint balls because of any of that, or because I think they have some significance or "meaning". I paint balls because they are the most simple and fundamentally different thing from the flat surface of a painting that I can think of. I like that elegant opposition of forces. Every day I try to wring a "real" ball out of a flat surface and every day I can't quite do it. In the good paintings there is some residue of that effort and in the best paintings there is a lot. In many ways then the subject of these paintings-at least for me- is just that residue: a wish for something that cannot be had, a version of a ball overlaid with desire."

John Gibson

oil on wood panel
signed and dated en verso, with "Gerald Peters Gallery, Santa Fe, New Mexico" label.
Unframed.
60" x 58"

  • Provenance: Gerald Peters Gallery, Santa Fe, New Mexico; Estate of Nancy R. Morrison, Houston, Texas.
  • Notes: "Although I have painted balls exclusively for over 25 years, I don't really care that much about them. Of course I'm attracted to them just like anybody else; I admire their endlessness and mystery. I love the way they can stand in for all sorts of unknowns and even the way a circle, or a shape of some kind sits on the surface of a ball and bends into space. But I don't paint balls because of any of that, or because I think they have some significance or "meaning". I paint balls because they are the most simple and fundamentally different thing from the flat surface of a painting that I can think of. I like that elegant opposition of forces. Every day I try to wring a "real" ball out of a flat surface and every day I can't quite do it. In the good paintings there is some residue of that effort and in the best paintings there is a lot. In many ways then the subject of these paintings-at least for me- is just that residue: a wish for something that cannot be had, a version of a ball overlaid with desire."

    John Gibson
  • Condition: Lower right corner splintering. Few pin-prick size areas of losses, but possibly hand of the artist. Possible surface scratches (but maybe artist technique), dark accretions lower right and center area. Please ask for additional images.
    Not examined under UV light.

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