Words by Marc Haefele, Senior Arts Writer, Bermudez Projects
Missouri-born Sean Sullivan’s artworks can remind you of the Action paintings of 60 or 70 years ago. It particularly partakes of the work of Action Abstract creators like Jackson Pollack, whose “canvas as an arena” connected the viewer with the subconscious inner self. There is also something reminiscent in Sullivan’s of the late surrealist oeuvre of Franco-American painter Yves Tanguy, with its psychologically incisive landscapes of unearthly colors and shapes.
But Sullivan’s works move well beyond the generically psychiatric and psychological. Each painting is a highly singular creation of ephemeral moment – including elements of music, dance, and intense self-perception, showing in patterns of what could be termed “intense blur.”
“My process and desire comes from a place and need to connect with all forms of consciousness,” says Sullivan. “(It comes from) my fear to explore the many layers of my own self, psyche and struggles with self doubt and the ability to coexist with the blurred reality of others. I work for a clearer perception and a better understanding – overall patience – all with the help of the many musical influences that make my life a little more complete.”
Sullivan, who is self-taught, has lived in Chicago, Miami and Hong Kong. He now lives in LA. His works frame structures of resonant images and suggestions of shadowy, color streaked architectures. Sometimes there are also what seem like evocations of sparsely-lit rivers by night.
In his debut solo exhibition at the Bermudez Projects space in Downtown Los Angeles, Sullivan offers a dozen or so paintings ranging from small to mid-size, painted either on canvas or wood panel. Each work is born from Sullivan’s desire to connect physically, psychically, and emotionally with himself and his universe and, in turn, manifest that cosmic relationship.
“My oils are layers upon layers of paintings at a time where my taste was changing as fast as I personally was,” says Sullivan. “I couldn’t tell when to stop, so it took a huge amount of strength to regress. The layers, the blurs of paint reminded me of a time as a child when you would throw a bunch of colors onto a piece of paper and fold the sheet to create a beautiful Rorschach. I would then smear the paint to smooth it out (the Virgo in me I guess).”
Since then, his work has advanced enormously to a deep empathy and tense awareness of his surrounding space in time.
“I work in a fever. I don’t spend too much time planning or pontificating about a painting but they do occur on days when I’m in desperate need of self-therapy. I dance with the paint. I let the music I choose be the guiding hand that ultimately leads to an image that speaks for my day.”
(Courtesy of the artist and Bermudez Projects, Los Angeles)
