Gordon Clarke Jameson

All things are in process, rising and returning.
Plants come to blossom, but only to return to the root.
Returning to the root is like seeking tranquility.
Seeking tranquility is like moving toward destiny.
To move toward destiny is like eternity.
To know eternity is enlightenment, and not to recognize eternity brings disorder and evil.

Knowing eternity makes one comprehensive;
comprehension makes one broad-minded;
breadth of vision brings nobility;
nobility is like heaven.

The heavenly is like Tao.
Tao is the eternal.
The decay of the body is not to be feared.


“All things are in process, rising and returning…”
Lao Tse

I’m in love with the idea in mythology that humans are first created in a garden and left as caretakers of it and that heavenly eternity exists in one.  I believe that all things are interconnected.  The past exists as long as there is memory.  Much of the past has passed out of memory and is lost but life continuously creates new ones.  To create and maintain a garden is artifice in the best sense.  As natural as any garden can look, it is still a deception if it is dependant on the gardener to keep what is truly natural at bay.  There’s an old quote that gardening is the slowest of the performing arts.  I love my garden and it informs my work. 

My paintings begin as a sketch from life or from a fragment of a photograph I have taken, often my own garden, but it can be anywhere.  I select compositional elements from the foreground and background equally, making notations about color and value.  I have no interest in duplicating what I look at - it is a way to start a visual conversation.

Once the sketch is redrawn on canvas and color introduced, it is about my conversation with the painting. While color, line and form may be generated by my observations, the painting has more to do with my own catharsis, the intensity of television and modern life.

My current work employs the use of photographs I took on a trip to India and drawings from Chateau Du Pin in the Loire Valley.  My conversation with the imagery remains cathartic but finds a new structure based on my experiences and observations in these two very different places.

Gordon Jameson
December 2013