Dan Lisuk

These works reflect the artist's interest in basic forces affecting the human condition.  Time and gravity are pervasive, but rarely enter into consciousness except in their negative impact.  Subject, materials and technique create powerful metaphoric narratives here.

This work is comprised of nine acrylic on canvas panels depicting the color change as newly produced steel ingots cool down then succumb to the effects of weather and time and begin to rust. The change in orientation from vertical to horizontal reflects the steel making process, as well as the submission to gravity, the basic force in our lives. A small stand contains two stems of milkweed; one bursting its silky delicate seeds in full fertility, the other is empty, spent and covered with tar. The second law of thermodynamics teaches that all systems tend toward maximum entropy. Religions teach that all returns to dust.

"The Birth of Steel" uses a large format and strong visual impact to ask questions about the inevitability of submission to time and natural forces that act upon our industry, our endeavors and on us. It is initially about color and three dimensional form, but quickly becomes a metaphoric narrative for our lives and the inevitable progression from birth to old age.

Art form: 3-D

Depth: 96 inches

Medium: Acrylic on canvas, with wood, steel, milkweed, tar.

Width: 168 inches

Year created: 2011

Height: 84 inches

The production of steel has become one of the basic foundations of civilization.  Its massive, powerful structures dwarf the workers who run the machinery, yet are subject to the same forces that continually attack their human makers and operators: time and gravity coupled with a subtly hostile atmospheric chemistry.  Oxygen, the giver of life, also combines with other elements in a continual process of reduction. 

An investigation into the metaphoric opportunities of construction materials led to the development of two narratives.  Each involves an individual encountering unnerving conditions, and seeking resolution at several levels.

An investigation into the metaphoric opportunities of construction materials led to the development of two narratives.  Each involves an individual encountering unnerving conditions, and seeking resolution at various levels.

The nude figure as a subject continues from the earliest stages of the human tradition of art.  Charcoal and chalk likewise are universal pigments for mark making.  The figure continues to offer a platform for unique expression and these media, with others, create narratives that explore the human condition on a sub verbal level.  

These works are informed by Barnett Newman's series, "Stations of the Cross lema sabachthani", which reflect on Christ's question, "why have you forsaken me?".  Newman considers this not a modern question, but a universal question asked since the beginning of human time on earth.  A solemn, minimalist approach encourages contemplation on this and other fundamental questions.

An exploration of materials and surfaces, following themes established in previous works, but having a more intimate attraction. Ambiguous feelings of danger and wonderment, fascination and a need to establish a narrative exist here, and might be realized, but may not be resolved.

The apparent constants of time and gravity are brought to a personal level. Einstein’s theory of relativity, “On the Electrodynamics of Bodies in Motion”, is transcribed over the obituary page of the New York Times. Mounted adjacent to this is a plumbbob passing through the printed version of Einstein’s theory over which is transcribed the obituaries from the full page. The point of the plumbbob almost touches a caged cube of coal that is the carbon of plants that lived 290 million years ago.