The Synthesis of Surface and Shadow
Lynton Wells operates in the friction between the photographic image and the physical reality of paint. His work does not rely on the sentimentality of the studio, but rather on the cold, structural presence of the objects within it. By utilizing large photographic prints on photosensitized linen, Wells creates a surface where the distinction between a captured moment and a deliberate stroke of acrylic becomes intentionally blurred. He uses black and white paint to intervene in the photographic space, often creating a conflict that destroys the illusion of depth. This is not a pursuit of realism, but a confrontation with the medium itself.
The subject matter is stripped of any biographical or personal narrative. Instead, the focus remains on the mundane tools of the creator: ladders, reflector lamps, wires, and massive sheets of clear plastic. These objects are arranged in straightforward, sometimes ambiguous configurations. The tension arises when the painted lines—either conforming to the light and dark of the photograph or hanging independently on the surface—clash with the photographic depiction. The physical seams where panels meet often become part of the visual language, forcing the viewer to acknowledge the work as a constructed object rather than a window into another world.
Technical Precision and Recognition
The rigor of Wells's approach is reflected in his formal training and the institutional recognition of his specific methodology. His practice is defined by a precise intersection of disciplines:
- BFA from the Rhode Island School of Design
- MFA from the Cranbrook School of Art
- Recipient of awards from the National Endowment for the Arts
- Recipient of awards from the New York State Council on the Arts
His exhibitions have been held at the University of Nevada at Las Vegas and Post, Los Angeles. These shows have highlighted his ability to manipulate the viewer's perception of space through the layering of media. The work remains a study in how a photographic depiction can be both heightened and dismantled by the application of paint.
A Material Reality
To understand Wells is to understand the weight of his materials. He does not work with the ephemeral; he works with linen, frames, and acrylic. His 1973 work, DQ-73, held by the Dallas Museum of Art, exemplifies this commitment to the physical presence of the art object. By treating the photograph as a substrate for painting, he forces a dialogue between the mechanical eye of the camera and the manual hand of the painter. This tension is the core of his contribution to contemporary visual language.
