SOME DAYS

Realistically rendered human figures are depicted balancing on highwires, planks, and drifting logs, flying, and spinning through the air like acrobats, and leaping across chasms in Gary Ruddell’s highly narrative paintings. The spaces his subjects inhabit, however, are amorphous, non-objective, and often work upon his subjects’ bodies to dematerialize their features, breaking down their solidity as if to highlight human impermanence and to challenge the singularity of human experience. The unique relationship that Ruddell orchestrates between representation and abstraction figures prominently in Study for Fire and Ice (2012). While the interlocking hands and forearms of what look like two trapeze artists in flight are depicted with naturalistic precision, their bodies grow increasingly illegible before

ultimately coalescing into the surrounding environment as abstracted currents of color and form. Such formal tensions call to mind the painter Gerhard Richter, who smears, wipes, scrapes, and squeegees his paintings’ photorealistic elements to undermine and challenge expectations and easy categorization.

Somewhat ironically, the tensions Ruddell orchestrates between seemingly disparate elements-and the viewer’s desire for resolution-fosters a sense of formal and psychological balance. As Man on Wire

(2012) directly demonstrates, a certain degree of tension is necessary for tightrope walkers to properly balance on their wires. Both formally and conceptually, balance and harmony are central themes for Ruddell, who describes his paintings as "visual statements about coming together" in an era dominated by international ethnic

and religious warfare and the undeterred rise of the military-industrial complex. This “coming together” is underscored by a recurring motif in which two figures are seen leaping toward each

other in an act predicated on faith and trust. Though we expect the figures to lock arms, Ruddell depicts them at that vulnerable moment right before they "catch" each other. Aided by a moody

palette of deep blues, grays, browns, and rusts and a predilection for dramatic tonal contrast, these frozen, powerful moments cause the viewer to stop, quietly consider, and reflect.

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Gary Ruddell (1951-present) is an American figurative artist who is known for his representational fine art paintings and early illustrations. After receiving his BFA from California College of Arts & Crafts, Gary jump started his career with a series of notable science fiction and fantasy book covers. Gary discusses his beginnings and more with fellow artist Nicholas Wilton in the video above.

In the early 90’s Gary began exhibiting his fine art at several galleries, museums, and universities. His fine art unlike his illustrations is a pure expression of his own vision. Often utilizing his family and surroundings Gary constructs images of great feats and inner conflict. When asked about what inspires his work, Gary had this to say “The vehicle, which drives my images, has always been my relationship with my family. It is an essential part of my development and process. Mundane and routine scenes, like children calling out for one another or the interventions of mother and son are what spark my own imagination from childhood”.

Gary’s work can now be seen around the globe at various galleries and private collections. He continues to live and work in the San Francisco Bay Area where he perpetually looks for new ways to innovate and challenge his practice. Most recently Gary was part of a project entitled Lightning Strikes II which aims to pair poets and artists together. In the video below you see Gary’s painting Ablaze paired with Billy Collins poem The Garland and the subsequent discussion.