These plein air paintings focus on the ethereal nature of color and its relationship to time. To me as an artist, this is a constant that lies right outside my front door. Regionally speaking, the constant is the north cascades and Camano Island at sunrise, the curvatures of Whidbey Island mid-day, and the Olympics at sunset. The landscape north of Seattle has somewhat freed my painting practice, as the process allows me to paint within very general guidelines. Just two ideas to work with: color and time. My choice in panel sizes range from 6x6 inch panels in a grid to 5x7 foot panels. This play between scale and subject is meant to convey the spacial consistencies of a single horizon or viewpoint. Extracting and focusing on certain characteristics of the land around me gives the work the opportunity to allow viewers to connect with each piece individually. As a whole body of work, the intention is to reveal the collective nature of experiencing the landscape/horizon. Color is not only affected by the time of day I choose to paint, but also by how I physically arrange my strokes and their abstracting qualities. These landscapes, these constants, are fragmented from that collective experience and abstract method.
John Loughman is an artist who has been using oil and various drawing media for over a decade, with the intention to reflect and heighten ethereal moments that derive from everyday existence. He draws from past experiences, current realities, and potential futures to create an open ended narrative. His works go against the traditional "snapshot" mode of painting, as he renders his subjects as they have existed, as they exist, and as they will exist. Loughman works primarily with the figurative and landscape processes in order to explore the illusory qualities of those concrete realities. Receiving his B.F.A in Painting from Pacific Northwest College of Art in 2010, John creates his work nestled in a flower farm on Whidbey Island, Washington alongside his wife Tonneli, son Sauvie, and dog C.Z.