Welcome to Timothy Poe Studio!
From 2005 reverse painting on plate glass mirror, Vere’ / Eglomise’ w Reflective Elements continues to dominate my pursuit of the never before seen object of art. Secondary techniques include 3 - dimensional conceptual forms utilizing found objects and two painting styles, oil on traditional gesso ground board. I am a multimedia artist in pursuit of the “singularity, the unique emotional bond between the viewer and the objects I create. Postmodernism influence carries my metaphysical reasoning and philosophy leading to influences of Lyrical Abstraction, Tachisme and Abstract Narrative styles. Conceived from a primal conceptualization influenced by way of my muse, my aesthic efforts are not attached to any broad metaphorical reference, I allow myself the freedom of expression derived from the observation of life on our planet and the supposition of other life forms “beyond the veil”! In most examples, color and form are selected in the forefront through my sub-conscience determination to avoid creating anything considered an exact representation of the natural world, or heavens
Noteworthy:
>Atlanta Style and Design
>Art Review: Bridging Tradition and Innovation in Multi-Media Art
>See a new "Mana" collection of work below!
>New Commission "Fortune" is complete and installed. See my blog!
>Physical Reflection, the 8th Element of Design
![_Forever_ 2023 - 39x41 inches _ Vere' Eglomise' w Reflective Elements _ Iron Frame[20053].](https://static.wixstatic.com/media/241f50_563a456600a34d2c82818cce00c1c4bb~mv2.jpg/v1/fill/w_162,h_194,al_c,q_80,usm_0.66_1.00_0.01,enc_avif,quality_auto/_Forever_%202023%20-%2039x41%20inches%20_%20Vere'%20Eglomise'%20w%20Reflective%20Elements%20_%20Iron%20Frame%5B20053%5D_.jpg)
Recent Works
Artist's Statement / Mana
I am an artist experimenting with various mediums and chemicals in pursuit of the never-before-discovered object of art, where alchemy is a conjoined effort!
In 2015, I began experimenting with various materials intended to create texture in the reflective surface of plate glass mirrors! When a thin layer of petroleum distillate applied onto a mirror's reflective surface, followed by a specific type of acrylic paint was splattered into the petroleum distillate; I discovered the paint would reticulate/transmogrify, producing organic life-like formations, when this mixture dried it would maintain these distinctive organic formations. The process continued to develop; I began to apply the technique to gesso-primed surfaces on board or canvas. The primed surfaces would produce similar results as when applied to the reflective coating of plate glass, although the shapes and patterns created were more life-like and defined when applied to the gessoed surface! The paint application was dipping the brush in the paint and flicking the loaded brush onto the floating layer of petroleum distillate. There is a degree of control over the amount of paint and the direction it is applied, although I do not assist the paint in finding its final form by brushing or any other manipulation! Attached are images of this phenom, where subjective reason and pareidolia reasoning will be at play! Petroleum molecules and atoms from the Mesozoic eras interacted with water-born molecules and atoms in acrylic paint, further influenced by various chemicals in the paint. The atoms of both materials may combine to form molecules in a quantum dynamic where movement and shapes coordinate the approximation of an organic living form through covalent bonding. Hypothetically, these molecules and atoms are joined through chemical bonds, further defined by sharing electrons between atoms and ionic and covalent bonding. By sharing electrons between atoms, chemical bonds are classified into different types of electrons between atoms, such as ionic, covalent, metallic, and coordination bonds. The distinctive organic paint forms may also result from the interaction between non-polar and polar molecules/atoms, where oil is non-polar, and water is polar. As mentioned, I am an artist/alchemist, not a biochemist or physicist, and I can only document these observations without conclusive scientific explanation or reason. I have not, as of now, discovered a definitive answer for these unusual forms rendered from splashed paint onto the surface of a petroleum distillate. A definitive explanation would require a controlled lab environment where biochemists' would apply the scientific method to the task. However, my research is ongoing, and I hope to offer a definitive scientific explanation for these chemical reactions and phenomena at some point in time. A broader historical, spiritual reference to the " Mana" tag, for this new style or perhaps new genre of painting, might lend itself to American Indian folklore, where the American Indian was polytheistic and saw God, the divine spirit in all living things where supernatural forces will always be supported by nature!
Gallery - Mana
The 8th Element of Design
Reflection permeates our existence, natural and incandescent light allows recognition of a visible object by line of sight. Humans and animals with functioning eyes have this ability to see, discern shape, form, color and movement by-way of passive reflection of light; electrons bouncing off of objects close at hand or millions of light years away.
Early in 2013, I began advocating for the reflective surface in the natural world as an 8th element of design. Passive reflection of objects and reciprocal reflection incorporated into residential and publics spaces. The reciprocal reflection of mirror, polished metal, clear glass, or water should co-join the 7 established elements of design, line, shape, space, value, form, texture, and color; Advocating the reflective surface as a standard design tool incorporating / utilizing function and form in an interior and or exterior space should become a practicing standard for design and art education. Please see the following petition for an additional archetypal element of design...an 8th element, the reflective surface.
Physical reflection is an inherent / integral element of design woven into the balance of nature itself. How does the human eye perceive and reflect the natural world, what we feel and experience when the natural world is inclusive of the reflective surface? Sight is the first of the five senses, vision through the eye allows perception by way of light rays / electrons reflecting from an object, back onto the retina of the eye and further back onto the occipital lobe of the brain where the object is processed into shape and form. Most humans perceive the world with five senses although, proportional relationships of organic & inorganic things are innately and most often understood by sight. We recognize objects and receive this recognition with associative reason, recognizing an object or thing by way of its form and perceiving its function, our human form for instance, has a reciprocal mathematical balance of the natural world. Physical matter reflects a cohesive balance of Dinergy, an across, through and opposing matrix of shape and form, each object held together by the physical forces of our universe as we know it. Energy from our nearest galaxy, our solar system, our sun, earth, fuels and bonds this Dinergy, the Landscape of life and the human physic responds and connects with this natural balance of the “golden mean” or Phi / 1.6. Humans have emulated this balance of the natural world in their lives from the beginning of time, choice, arrangement and design of the landscape and objects we live with and want, form following function that we perceive, an agreement with the Mosaic of the natural world and its mathematical balance. We have an innate need for order, organization of these objects, understanding the purpose or utility by arranging them in a way that physically reflects the natural world. We utilize objects of utility for practical and also aesthetic / emotional purposes. Line and curved shape, depth or space, value, form, texture, color and physical passive or reciprocal reflection are primary elements in nature and we feel comfortable and safe living in an environment where these natural primary elements are present. From the time of Galileo, our ability to reason and discover new methods of living evolved, humanity advanced through several periods of innovative discovery since the renaissance. The established 7 elements of design have evolved, moving forward we referenced the past, a guidepost to navigate the future, new aesthetic models of formal design were developed in the late nineteenth century where this new philosophy of design offered influence forward from ancient designs. The Celts Reflected nature into the design of jewelry and objects of utility and Art Nouveau nurtured these new ideas to the forefront of art and design based on the natural world. Balanced synergetic formation of all organic and inorganic matter born and nurtured by way of the electron. During the late 19th century inclusive of these new ideas of “nature’s way”, the world of art and design included the reflective surface, a plate glass panel coated on one side with mercury or silver and when viewing the glass from the front or, the opposite side of the silvered surface of the clear plate glass we would see a reflection, a reciprocal image or ourselves. With physical reciprocal reflective surfaces, a plate glass mirror, highly polished metal or, a still pool of water, we are able to see our own image and objects around us . Humans have long since known the physical reflective surface of a plate glass mirror emulates reflection in water, still pools of dark water. Seeing our image and considering the physical reflection of ones’ self, or an adjacent Landscape in nature’s own design, allowed for a connection to the environment and perhaps a philosophical reality of “self-reflection”. The placement of a reflective surface producing a reciprocal reflection and or objects with passive reflective surfaces in a modern design scheme for interior or exterior spaces expands and opens the space. The Physically Reflective surface allows the interior space to appear larger and reflect objects in the space. The exterior of a building sheathed in windowpanes of glass also allows for the space to appear larger as the reflected light enhances other objects. Personal and private revelations are found in the surface of a mirror, when our physical appearance is presented, we adjust apparel, hair, skin and are allowed to feel or experience the past, present and future about ourselves and the world around us. A silvered glass surface provides a “through the looking glass” experience. Philosophical reflection, emotional reasoning and personal insights may be realized by way of this reciprocal physical reflection produced by the reciprocal reflective surface.
So now begging the question for the reciprocal reflection of a plate glass mirror? If a plate glass mirror reflects physical form in the mind’s eye, is a mirror only an object of physical reflection? Notwithstanding the physical and philosophical aesthetic reasoning of what is being reflected and only used for various convenience and purpose, function and form? The question for any form of formal design is, wherein an object of utility incorporated into a design plan might be answered; is this reflective object an essential element of the plan? The effect in the case of a Physically Reflective surface should also be the cause, where if a singular object or several incorporated into a planned design may have some if not most of the 7 elements of design is considered complete in itself? In most cases, an interior or exterior space generally requires each of the 7 elements composed of several mediums to be considered complete, a working functional nature influenced composition. Good design must have a cohesive function and should possess the 7 elements of design, although where compositions of interior or exterior design include various materials, shapes and functions, inclusive should be an 8th element, an element of reflection!
My work with plate glass mirror / Eglomise’ with Reflective Elements is often mentioned as “a mirror”. I consider the plate glass as canvas and the silver Reflective coating a medium of color. Utilizing the Reflective coating as a material element within the composition, the final outcome rarely resembles a mirror as we understand it, the full area of the reflective surface of the mirror becomes something else inclusive of the 7 elements of design and one additional element, reflection! My process of “adjusting” the reflective silver coating leaves a much smaller percentage of the silver remaining relative to the overall percentage of a Reflective plate glass panel of any size. A reduced percentage, or only an accent of the Reflective silver / color, where the total area of the plate glass panel ceases to become only a mirrored surface, the mirror becomes an object of introspection and study, e.g. an object of art. These objects of Eglomise’ w Reflective Elements are portals to a physical and ethereal world, as mentioned… a behind the looking glass experience and the presence of this idea has been in the forefront our minds from the beginning of human existence on this planet:
Proverbs 27:19 “As water reflects the face, so one’s life reflects the heart.”
References:
Brian Green, “The Fabric Of the Cosmos” / First Vintage Books Edition, February 2005
Rodolphe Gasche’, “The Tain of the Mirror ( Derrida and the Philosophy of Reflection) / Harvard University Press, 1986
Lawrence M. Krauss, “Hiding In The Mirror” / W.W. Norton & Company / 2003