Peters Projects is pleased to present Population-Santa Fe, by Ray Turner, an exhibition of new work, and a fundraiser for the Santa Fe Independent Film Festival.
In his Population series, Ray Turner displays his skill with portraiture on identically formatted glass surfaces in complimenting color values, so that when displayed in a group, the individual portraits create a unified population. Turner is bringing this collection to Santa Fe, featuring subjects from the Santa Fe film industry, among others. 10% of the proceeds of each painting will go to the non-profit entity, the Santa Fe Independent Film Festival. Peters Projects, along with the artist, plan to add to Population-Santa Fe annually, creating portraits that highlight the unprecedented future economies of our creative community, and celebrating those individuals who support a healthy economy within The City Different.
The portraits in the Population series are each 12” x 12” with the head, neck, and partial shoulders set on a flat-colored background of wood panel or glass. For each portrait, Turner chooses from colors within a similar tonal variation. This allows the portraits to be arranged, rearranged, or configured in a variety of combinations, with the relationship of each retained. While the portraits are individually stunning, shown together, they create a unified whole.
Ray Turner’s influences are the expressive and emotive painterly styles of Rembrandt, Van Gogh, Soutine, and Frances Bacon, among others. Turner applies the paint in rich, thick strokes on the smooth surface of the glass, elevating the portraiture through a process similar to that implemented by Lucien Freud.
“One of the main attributes of working on glass is the clean, perfect surface,” says Turner. “I like the fact that you cannot be finicky about the application, or the slickness will work against you. So you have to apply generous, confident amounts of paint or it won’t work. The transparency of glass is important to me as it sets up the color part of the exercise. The background is painted long before I start the head, so it influences my choices in carrying out the color study and, in no small measure, dictates the outcome of the final piece.”