K20, Jay Koka Studio TEN Artist 2

k20.ca Introduction | Making the Artist | 20 Year Retrospective Gallery | Print Library | Jay Koka Studio TEN

Jay Koka Studio TEN

a Retrospective of the Tenth Anniversary Book

AN ARTIST'S VIEWPOINT
continued, Page 2

Squint your eyes while looking at one of Jay's paintings and you can see a wonderful value change (dark against light). This is the design principle of contrast. He also utilizes a good value/hue relationship (every color has a dark/light value). Also, his ability to mix back and forth along the intensity (chroma) scale is the quintessence of sensitivity, adding a haunting enigma to the content of his paintings. Another design principle jay uses well is economy or simplicity. With simplicity comes power. Thus, his strong compositions. What is left out of a composition is every bit as important as what is put in.

Jay is visually perceptive.

He understands that the element of line does not appear (as such) in nature. So, he brings masses of value and or color almost together (as nature does). This creates a suggested or felt line that is the result of the larger forms almost coalescing with soft scumbled edges. Similarly, he introduces small interstices between the branches of trees silhouetted against a lighter sky with the sun eating away at the edges.

Jay's works have a painterly quality. The surfaces are partially painted in a beautiful impasto (thick brush stroke) techniques opposed by areas of smooth glazes. The result is a tactile surface at least as interesting as the subject. A painting is not just a picture of something - it is something! Also, the paint does not appear to be an apology for the canvas. Painters often say, "Fortune favours the bold!". Jay is a bold painter. However, do not make the mistake of confusing sensitivity with weakness. jay's compositions are sensitively balanced utilizing repetition and rhythm that brings unity, cohesiveness and harmony.

Another device Jay incorporates into every composition is the use of perspective. Objects that appear on a two dimensional plane have the illusion of receding into the background three dimensionally and forward to the viewer. He does this by making objects become smaller or overlapping to mimic distance. Also, the higher an object is on the picture plane the further it recedes visually. A more emotionally effective device jay incorporates is aerial perspective. With this technique he makes shapes softer edged and less detailed the further they recede into the background. Also, owing to the density of the atmosphere, all tone contrasts are muted and all colors tend to cool in proportion to their distance from the observer.

Finally, two of the most subtle but important techniques I admire in Jay's paintings are the old master methods of sfumato and chiaroscuro. Used by Leonardo, sfumato describes the transitions of color or especially tone from light to dark by stages (in glazes) so gradual as to be almost imperceptible. Blended without lines or borders, they appear atmospherically smoky or misty. He then contrasts this "soft" with hard edged shapes. Chiaroscuro, used by Rembrandt and Caravaggio means the balance of light lights and dark darks. This technique only shows up in Koka's predominantly dark works.

Talent is a responsibility, one that I think Jay has taken very seriously. In his pursuit of excellence, while fulfilling his inner dreams and struggling toward his noble goals, jay has inspired many along the way sharing his vision of beauty with all who would see. I believe that certain individuals like Jay Koka possess God-given genius. I'm grateful to live in a world that makes their existence and valuable contributions possible.