Jonathan Chapline: Sprawl
The Hole L.A. is delighted to present Sprawl, an exhibition of new paintings and drawings by the artist Jonathan Chapline. This show marks the first solo exhibition to be held in The Hole’s sparkling new 8000-sq. ft. Hollywood location. In recognition of the expanded spatial opportunity, Jonathan will be presenting several large wall works which explode his signature style into new dimensions of scale and perspective.
Jonathan Chapline has received serious attention in recent years for his striking polymorphous style and smoothly gradated brushwork. Inspired as much by midcentury modern architecture as he is by early computer software, Jonathan’s synthetic landscapes and interiors are the culmination of a complex process that combines sketchbook drawing with digital rendering, only to inscribe the computer’s 3D models back onto the two-dimensional picture plane. Though his paintings derive from coherent life studies, they are imbued with the perspectival ingenuity of a software program, allowing the artist to tilt, drag, and reconstitute the layout from every conceivable angle. In his meticulously hand-painted works, Chapline winkingly evokes the generic, and playfully builds his visual language around the terminology of modeling – both in relation to mass-produced architecture, and the technical defaults of digital design.
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The Hole L.A. is delighted to present Sprawl, an exhibition of new paintings and drawings by the artist Jonathan Chapline. This show marks the first solo exhibition to be held in The Hole’s sparkling new 8000-sq. ft. Hollywood location. In recognition of the expanded spatial opportunity, Jonathan will be presenting several large wall works which explode his signature style into new dimensions of scale and perspective.
Jonathan Chapline has received serious attention in recent years for his striking polymorphous style and smoothly gradated brushwork. Inspired as much by midcentury modern architecture as he is by early computer software, Jonathan’s synthetic landscapes and interiors are the culmination of a complex process that combines sketchbook drawing with digital rendering, only to inscribe the computer’s 3D models back onto the two-dimensional picture plane. Though his paintings derive from coherent life studies, they are imbued with the perspectival ingenuity of a software program, allowing the artist to tilt, drag, and reconstitute the layout from every conceivable angle. In his meticulously hand-painted works, Chapline winkingly evokes the generic, and playfully builds his visual language around the terminology of modeling – both in relation to mass-produced architecture, and the technical defaults of digital design.