Mockingbird Gallery | 8/6-8/31 | Bend, OR

In Harmony

Ron Hicks’ latest series of figure paintings will be on view at Mockingbird Gallery in Bend, Oregon, this August.

It’s tempting to call paintings by Ron Hicks “enigmatic.” The word comes from the Greek ainissesthai, which means “to speak in riddles.” That doesn’t work. Nor does “mysterious.”

Hicks gives enough information in his portraits to engage the viewer. Rather than revealing more, he allows the viewer to read into the faces while, at the same time, marveling at the way he has constructed them. They emerge from abstract fields of muted color with the occasional pop of high chroma. His figures are one with the abstraction; multidimensional and complex, they are oases of calm in a chaotic world.As it Seems, oil on birch panel, 30 x 30"

He comments, “For a time, as I was exploring this latest body of work, I was at somewhat of a loss as to how to label or describe exactly what was pouring out of my heart and on to my substrate. For years I’ve absorbed and been influenced in one way or another by many of the Western art movements. As odd as this may sound, I guess I see myself as an abstract painter with figurative tendencies. I came to this conclusion in part because I started approaching my paintings very abstractly years ago. It is more important to seek harmonious dialogue between visual elements such as shape, value, edges, lines, color, etc. than to solely concentrate on tangible ideas like subject matter or likeness in my paintings. In a sense, my figurative dialogue became an integral part of the abstract design. It’s important for me to say something figuratively in my work but not at the sacrifice of harmony. I rely heavily on my intuitive interpretation these days.”Sanguine, oil on birch panel, 24 x 18"

He welcomes the viewer’s response. “I see my purpose as an artist differently than I did when I started painting. At first, it was just a means to accurately transfer data. But I believe art is a language. It crosses multiple boundaries such as race, religion and biases just to name a few.Of Shadow, oil on birch panel, 20 x 16"

I see my work as a vehicle to deal with my own emotional responses on canvas as well as open up dialogue of all types. I rarely talk about what my thoughts are regarding my work because I would rather hear comments from those that respond to it. After posing the question, ‘What do you think this work is about to you?’, I’ve had many conversations—all valid, good, bad or indifferent.”Sapling, oil on birch panel, 24 x 18"