Thoughts become words – words have meanings that define thought; a brushstroke is a thought. It takes countless brushstrokes to make an image that can potentially be read like a word. I am forever dancing with the invisible, trying to entice it into manifesting into my/our world. Thoughts and words can be guides for how the invisible is to enter into our dimension of time and space. The words of T. S. Eliot's poem, "The Four Quartets" set the stage for my hand and mind to

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About Amor Fati: Shane Guffogg

One thing leads to the next, or so it seems. I often wonder if all things are happening simultaneously but being stuck in our physical form doesn't allow us to see beyond the here and now?

While painting the Ginevra de Benci series, I read some in-depth books on Leonardo and the Renaissance period of Italy. What was amazing to me was the resurgence of the philosophy of Plato during that

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The Fifth Sound: Shane Guffogg

The origins for the glass sculptures started as drawings in 1997, though, at that time, I wasn't aware of it. I was making drawings of the shapes that were formed in the space around the ribbon-esques images I was painting. The idea of turning a negative space or shape into a three dimensional object was in line with making the invisible visible, which is

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Lindsay, California is a fairly remote town in Tulare County, California, fully 5,566 miles from St. Petersburg, Russia, one of the world's great art capitals. Those two disparate locations - the former rural and relatively upstart compared with St. Petersburg's long and storied past urbanity and art historical significance - couldn't be more absurdly juxtaposed.

So what line possibly connects them? Currently, That would be the one drawn by artist Shane Guffogg, a Lindsay native and 

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De Amore: Victoria Chapman

After conversing with Guffogg, he explained to me that the De Amore series, was inspired by Ficino’s own “De Amore”, an account Ficino witnessed in the 14th century in accord to Plato’s "Symposium on Love".   The Renaissance era was at the height of this existence, when love for God moved to a more spiritual quest of, 'love for light” and

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Lumen Lapsus (Light Falling): Shane Guffogg

Light has always been a central part of my art. In 2001, I began a series of paintings that had veils of light cascading down the surfaces.

I was thinking of light from a different source, like a reflection off of

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μετά τα Φυσικά: Cynthia Penna

Metaphysics: a science that studies the essence of things, and not their real nature. “… it goes beyond the contingent elements of the sensible experience … according to a universal perspective. Metaphysics focuses its attention on what it considers eternal, stable, necessary, absolute, seeking to capture the fundamental structures of being” (from Wikipedia)

Guffogg’s research in painting and the arts has always explored the essence of

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Thoughts: Shane Guffogg

I am a painter. This encompasses many things. Painting is a physical activity, which is, in reality, just the act of smearing paint on a canvas. Simple, direct, tactile. At times I like to trick myself into thinking it really is that simple. But every moment of my existence -- past, present and future -- feeds into the “smearing of paint.” I saw my first Rembrandt and Leonardo da Vinci in the flesh when I was in my late teens. Their work, their

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Crossings The Water Colors: Shane Guffogg

“A crossing is an intersection, an information system, a cage, containment, a choice, a denial, a structure, a maze, an overpass, a forest, a movement between worlds.” 2002

Beginning in 2001, I would start each day by entering my studio in downtown Los Angeles after driving from Hollywood and walk around the room, saying everything that was on my mind out loud until I didn’t have anything else to say. Then I would lay out a piece of paper, sometimes

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When I Consider How My Light Is Spent: Shane Guffogg

Sight and the idea of seeing, both the physical world and the terrene that is sensed, but just beyond reach, is a recurring theme in my work. The referencing of poetry for my titles is an inroad to that invisible landscape and – when I really stop and think about it – my way of giving an audience a looking glass to see through.

When I Consider How My Light is Spent is the title of a poem by

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The paintings of Los Angeles based  artist Shane Guffogg first appear to us as pure color shimmering and streaking across canvas. But look a little longer and nearly figurative shapes slowly  reveal themselves. Look a little closer and intricate details and layering become clear. The shapes and patterns hover somewhere between writing and design. Like a personal Rosetta Stone, Guffogg’s paintings and drawings give us a new world of signs, unbound by

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EARLY WORKS: Christopher Monger

A human has two eyes, the information from which is magically blended and processed to give us a measure of depth and movement. But to be human is to look another two ways, at two different landscapes, for we look both inside and out and it is a lucky and complex mind which can marry these worlds. A walk through the world of physical things is dangerous-watch any child take its first perilous steps- but the journey inside is

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