Parallel Truths by James Bullough

Presenting a beautiful set of artwork by American artist James Bullough joining realistic oil painting with other abstraction techniques normally used by graphic designers in huge monumentally scaled site-specific murals.

“The artist’s new works are increasingly dynamic as the bodies’ interrupted segments have been shifted and activated, rather than deleted. Areas of the figure are superimposed, vibrating with transitional movement rather than apprehended in static still. In other works, the pieces seem to be deteriorating before the viewer’s eyes, with the paint appearing to be flacking off the panel in true tromp l’oeil fashion. Working in everything from oil, spray paint and ink on canvas, Bullough’s paintings strike a balance between realistic figurations and stylized interruption. Disjointing the realistic elements with graphic areas and fractured or striated planes, Bullough intends to challenge the viewer’s perception.”

James Bullough is an American born artist living and working in Berlin, Germany. His studio paintings, and huge monumentally scaled site-specific murals combine delicately handled realistic portraiture with harsh graphic distortion and abstraction. Inspired by the gritty urban graffiti he saw as a youth growing up in Washington, DC, Bullough harnessed it’s energy and edge while teaching himself more traditional realistic oil painting techniques by studying the Old Masters. Combining the momentum of the one and the technical precision of the other, his work is about staging compelling contrasts and juxtapositions. Wether working with spray paint on massive facades or oils in his studio, Bullough’s work strikes a delicate balance between realistic portraiture and stylized distortions, straddling the space between traditional and contemporary.

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Born in São Miguel Island in the beautiful archipelago of Azores. Web Developer and Designer at Waka WebStudio. Consultant at Hunt Global. Connected with everything visual, in love with photography, design and nature.

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