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Barnaby Furnas often depicts Civil War scenes as a way of exploring the issues of politics, gender, race and division. Painting Untitled (Antietam) presents a huge Civil War battle scene depicted through an array of clashing U.S. and Confederate flags. The intervening of conflicting motifs and layers of paint make this art piece almost a tactile experience. More on this painting
Drawing on history and culture, Barnaby Furnas creates restless, radiant paintings chronicling crescendos of excitement – religious, political, sexual – as they career towards tipping points of deliriously uncertain outcome. The active moment versus painting's innate stillness has been a central tenet of paintings whose subjects include the Creation myth, Civil War-era battles and high-octane stadium rock gigs. His are at once brutal and elegant works, bound up with the excesses of the world yet brought into being through the prism of art history. From Cubism's fracturing of the picture plane, through Futurism's attempts to capture movement, via 'blood and guts' outpourings of Abstract Expressionist and the transcendental spaces of colour field painting, Furnas entwines history with art history in provocative combinations of narrative and form.
Process is essential to Furnas' compositions, with content following form as the artist endeavours to make paintings that are analogous in their construction to how they function in the world. Pitched between depicted action and the act of painting, paint's illusory potential and its materiality, Furnas's work always imparts a visceral hit while drawing attention to its own manufacture. In his rock concert paintings, for example, impeccably crafted confusions of foreground and background, or picture planes traversed by lattices of stage light beams snag the eye, creating a pictorial equivalent of the heady confusion of the arena. In other works filigrees of painted bullet holes seem to pepper the surface, their Rorschach-like arrangements intimating a frenzied psychological dimension in tandem with the depicted scene. Furnas’ Flood paintings, such as Red Sea Parting, 2006, and Last Day (Red to Black in 6 Parts), 2013, raise the stakes on colour field painting, rendering it overwhelming, apocalyptic. "A painting is interesting to me to the degree that I can integrate myself in its making,” Furnas says. "The paintings are at their most engaging when they are making themselves." More on Barnaby Furnas
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