John Dowling Galleries
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American Graffiti drawings/paintings are made on the computer manually. This involves taking photographs of paintings. Then, every square inch of them is drawn until the original photos become nothing more than the color palettes. The new resulting compositions are now completely complex drawings (paintings). They often encompass over 1,500,000 manual brush strokes and manual mouse and tablet manipulations. These artworks have original sizes often exceeding 5 feet by 21 feet! With these thumbnails, you can not really see the details in the compositions. Even with the full-screen images, the details are not visible. You can click on any of them to make the image full-screen. To see the full details, view them on the original printed aluminum. They are also printed on metallic canvas or metallic cotton fiber. Many of these abstractions or micro-abstractions harbor “spacelings” a nickname the artist Dowling has affectionately given to them. These “spacelings” are like abstract creatures you find when the observer drills in on pieces of these abstractions.
You will also find abstract “totems.” Totem poles are the largest objects coastal Pacific Northwest natives use. They depict spiritual reverence and family legends. These poles also illustrate sacred beings and culturally important animals, people, or historical events. Here Dowling pays homage to the totem art. The influence of traditional totem art is evident on the vertical axis of many of Dowling’s more complex pieces.
Expressionists used the impasto technique for its expressive traits and to draw attention to a certain aspect of the work. Van Gogh is said to be a pioneer in using the impasto technique. Van Gogh used impasto not just to add dimension to his paintings but to add emotion and movement. We see this movement in the swirling clouds of Wheat Field with Cypresses and Starry Night. Traditional painting techniques could have created the same colors and images. However, the movement and emotion of the painting would be missing. Dowling makes use of a modified impasto technique in all of his American graffiti collections and pieces. Just look at the swirling graphics. Current Inventory over 200 unique very large format pieces.
American Graffiti Collection 200 plus extra large format pieces
Acrylic large format pieces stretched canvas acrylic 30″X 40″ up to 48″X 120″
Also known as paint pouring, flow art, liquid art. etc. Is a form of abstract art that uses acrylic paints with a runny (fluid) consistency. The acrylic paints react with each other when combined together to make interesting and visually organic motifs. To create intricate designs, you can mix multiple colors in one cup, pour different colors near each other and swirl them into a design, or layer multiple colors on the background. Many artists use stretched canvas for acrylic pour projects so they can hang their pieces after they’re dry.
The biggest difference between resin art and acrylic pouring is the medium. While epoxy resin and acrylic paint are both fluids, epoxy resin is thicker and heavier than acrylic paint. The thickness makes it easier to layer colors without those colors running together.
Another difference between these art techniques is resin dries more quickly. Depending on the number of resin layers and the environmental conditions, epoxy resin art can fully cure within 24 hours. Conversely, since acrylic pouring includes a pouring medium and water, it takes longer to dry. Dowling pieces are made with transparent layers and may take over 1 year to dry! Dowling combines the techniques used in both resin pouring and acyrlic pouring, as well as other proprietary techniques to create unique masterpieces. In 2023 Dowling started to incorporate metallic fibers and phosphors and luminescent powders in various colors, particle sizes and emission peak wavelengths to give two distinct painting in one canvas for the observer – The Day Painting, and the Night Painting as phosphors glows in different colors in the dark. Current Inventory over 50 unique very large format pieces.
A Miracle in the Making Pieces digital art on metallic surfaces alluminum, metallic cavnas, metallic glossy coton fiber pieces 30″X 40″ up to 54″X 84″
These Miracle in the Making pieces were made between 1983 and 2024 and depending on the computer processing power at the time, now can look rudimentary, however, at thier respective time in production were state of the art often taking days to complete. The process is quite complicated in that each work of art starts out with a photograph that in the beginning of John creative journey started with actual film, enlargers, chemical process, and terms like “Ruby Lift” that most artists don’t even know about as a way to mask light from images in the darkroom that were “cut” by hand. As cameras became digital and the darkroom became software like photoshop, Dowling started to use montages and compositing to further enhance his illusions that started by multiple image and textures in traditional darkrooms. In fact Dowling first set of paintings were used as textures for his montages and later started to sell on thier own. What makes Dowling’s work so unique is his use of digitally painted abstract layers that cause each viewer to have different perceptions of what they are observing. It is a unique technique that leads viewers to have false affirmations of what they see, as well as challenges to the conscious mind to see what actually exists. The term for this psychological effect is scotomisation. These shapes, patterns, and illusions often lead to the viewer working to find objects in his pieces and to moments when the individual has a “eureka moment” or epiphany. These pieces are often printed on metallic surfaces and the minium size is 30″X40″, sizes smaller than that, even here online can obscure the illusions created in these pieces. It is highlly recomended to use a large computer screen where evaluating these pieces. Dowling will often use these pieces to make mixed media art as he will paint any of them in acrylic paint by request, and often does keeping the illusions alive in the finished pieces. Current Inventory over 550 unique very large format pieces.
“Unveiling the Human Form: A Journey Through Layers and Emotions
My art is a celebration of the human form, exploring the depths of emotion and the complexities of identity. By layering transparent images of faces and bodies with abstract elements, I create a visual language that transcends the boundaries of traditional representation. Each piece is a journey of discovery, inviting the viewer to delve into the hidden narratives and emotions embedded within the layers. The interplay of the human figure and abstract forms creates a dynamic tension, blurring the lines between reality and imagination.
I invite you to explore this world of visual poetry, where the human form becomes a canvas for expressing the full spectrum of human experience.
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